Tag Archives: film

King of Peking

 

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King of Peking (2017) is a new comedic drama set in 1990s Beijing that follows a down-and-out movie projectionist and his son as they try to make it big by starting their own pirated movie company. Written and directed by Australian filmmaker Sam Voutas, the film was inspired by his experience of growing up in Beijing in the 1980s and 1990s and the bootleg film industry that blossomed around that period. Funded in part by crowdfunding campaigns, King of Peking is a heartwarming exploration of father-and-son relationships, morality, and what it means to be an example to others. Neocha had the opportunity for an exclusive interview with Voutas to learn more about the film, his thoughts on the filmmaking process, and his memories of China.


《京城之王》(King of Peking)(2017)是一部以20世纪90年代北京为背景的喜剧片。影片讲述了一名穷困潦倒电影放映员和他的儿子想通过开盗版片加工厂来致富的故事。这部电影由澳大利亚导演司马优(Sam Voutas)担任编剧和导演,灵感来源于司马优20世纪80年代和90年代在北京成长的经历,以及在这段时期内蓬勃发展的盗版电影业。这部电影依靠众筹获得了部分的拍摄资金,是一部探讨父子关系、道德及作为他人榜样的意义的暖心之作。Neocha独家专访了司马优(Sam Voutas),了解更多关于这部电影、他在电影片拍摄过程的一些想法,以及他对中国的回忆。

Neocha: You have a history of working with the same actors and crew on some of your previous films. How did your team first come together?

Voutas: Yes, there’s quite a few of us who’ve worked together before, such as producers Jane Zheng and Melanie Ansley, as well as our sound engineer Jules Ambroisine. The first time we all worked together as a team was on Red Light Revolution, a sex shop comedy we filmed in Beijing at the end of 2009. Even though several years had passed, we approached the crew from Red Light Revolution first for King of Peking. Obviously, due to people’s schedules we couldn’t get all the same people, but Melanie, Jane, and Jules were all on board super early. And also very important for me was getting Zhao Jun, who also starred in Red Light Revolution, back for the lead role. In terms of how we met him, Melanie found him in Beijing’s Penghao Theatre years ago when we were doing auditions. He was in their café, patting a dog, and Melanie just walked up to him and asked if he was an actor. He said no. But luckily the friends who were with him told him to come clean! He went upstairs, auditioned, and nailed it. He’s such a natural, fun actor.


Neocha: 你拍摄的电影常常是和同一班演员和团队合作的。你们这个团队最开始是怎么走在一起的?

Voutas: 是的,我们中有不少人曾经一起工作过,比如制片人Jane Zheng和Melanie Ansley,还有我们的音响工程师Jules Ambroisine。我们团队第一次一起工作,是在2009年底拍摄《红灯梦》(Red Light Revolution)的时候,我们在北京拍摄的一部有关成人用品商店的喜剧片。过了几年,当我们要拍《京城之王》时还是先找了拍《红灯梦》的团队。Melanie、Jane和Jules很早就确认要参与拍摄,但其余的大家各自有自己的工作安排,我们也不能找到全部的原班人马。另外非常重要的是本次饰演电影主角的演员赵骏回归荧幕,他也曾出演过《红灯梦》。我们结缘就是在几年前北京的蓬蒿剧场,我们正在试镜时,Melanie看到了他。他当时正在咖啡馆里,逗着狗玩,Melanie就走到他面前,问他是不是演员。他否认了。还好他旁边的朋友叫他老实坦白!他后来就上楼试镜去了,拿下了那个角色。他是个很真实、很有趣的演员。

Neocha: You started out as a documentary filmmaker before you got into narrative films. What was it like to make that transition?

Voutas: Documentaries are wonderful but I always found them very difficult regarding developing story. You’d have to wait and wait for something interesting to happen to the characters, often waiting weeks, or months even. And sometimes when that wonderful moment arrived, that scene or story turn you’d been waiting for, you weren’t there! Your phone would ring and the character would tell you what just happened to them! The frustration! With fiction, while it still takes a long time, at least from the script stage you can devise a path that the characters will take. You can plot the course more. So I’ve found that fiction film is, for me anyway, a better way to go. At least when something interesting happens to a character, I can be there to film it.


Neocha: 在你拍摄叙事电影之前,你一开始是一名纪录片制片人。对于这种转变,你自己有什么想法?

Voutas: 拍摄纪录片是很棒的,但是我发现,在故事发展方面,它们很难把握。你必须一直等待,等待一些有趣的事情发生在拍摄对象身上,这往往要等上几个星期,甚至几个月。有时,当那个精彩的时刻,那个你一直在等待的一幕或故事的转折点发生时,你却偏偏不在现场!直到你的手机响了,拍摄对象告诉你刚刚发生了什么事,你才知道!真是很有挫败感!而电影虽然也需要很长的时间来制作,但至少在剧本阶段,你可以设计角色的经历。你可以对故事的发展有更多的把握。所以我觉得电影对我来说更为合适。至少当角色发生有趣的事情时,我可以确保自己拍摄下来。

Neocha: What was it like to grow up as a foreigner in China during the 1980s? Looking back, how has that experience played a role in defining your filmmaking career?

Voutas: When I first lived in Beijing in the 80s, there were hardly any cars on the road. The bike lanes were packed with bicycles, but the main roads themselves were mostly empty but for the old buses. If someone in a car drove by, you knew they were a big deal. And if you wanted a burger, there was one hotel in town that could make one. As foreigners, we weren’t able to use the main currency of renminbi. We had to use something called FEC, and that had a different exchange rate even! So very different times. I reckon my perspective has changed primarily because I’m thirty years older. Back then I wanted to just play in the dirt, and now I guess the major change is that I’m playing in the same way, but on film sets. The make-believe element is still there. I’m just playing with different toys and with new friends.


Neocha: 在20世纪80年代,作为一名在中国长大的外国人是什么样的?这段经历对你的电影制作生涯有何影响?

Voutas: 80年代,我第一次到北京生活时,路上几乎没有汽车。自行车道上挤满了自行车,但大路上大多是空的,只有残旧的公共汽车。如果有人开小车经过,你就知道这肯定是个大人物。如果你想吃汉堡,北京市内只有一家酒店可以吃到。同样,作为外国人,我们是不能使用人民币的。我们不得不使用FEC(外汇券)来付钱,它甚至还有不同的汇率!那个时代跟现在真是截然不同。我觉得我的一些观点已经改变,可能主要是因为我已经三十岁了!当时的我只想玩泥沙,现在我想主要的改变是我还是在玩,但却是在拍摄电影时玩。那种“过家家”的元素仍然存在。我只是找到了新的朋友一起玩不同的玩具。

Neocha: Can you tell us about some of the challenges you faced in creating a period piece set in 1990s Beijing?

Voutas: Our film is set in the late 1990s, and what I hadn’t predicted was that so little of 1990s Beijing is left in the city today. We scouted Beijing for a few weeks before we realized the locations simply weren’t there anymore. The old neighborhoods had turned into high rises, so we ended up filming the majority of the movie in Hebei Province. The old cinemas, buildings, amusement parks, we found them out there. It was a very stressful time because without the locations we didn’t have a movie.


Neocha: 你能跟我们分享一下,在拍摄这部以20世纪90年代的北京为背景的电影时你所面临的一些挑战吗?

Voutas: 我们的电影的背景设在了90年代末,而我没有料到的是,90年代的痕迹在今天的北京已经很难找到了。我们在北京找了几个星期,才发现已经找不到那样的拍摄场地了。老街区都变成了高楼。所以,我们大部分场景最后都要去河北拍摄。旧电影院、建筑物、游乐园都在那里找得到。那段时间压力真是非常大,因为如果没有外景拍摄场地,就拍不成这部电影了。

Neocha: What advice would you give to aspiring filmmakers, in China or otherwise?

Voutas: Be persistent. It’s a long game. It’s okay to make mistakes, to fail even; that’s just called learning. Often it’s two steps forward, one step back, and sometimes you just fall on your face. It’s just the way it is. Just try and tell stories any way you can. Even if you’re shooting on your phone, that’s fine. The important part is to keep on trying, to not take no for an answer.


Neocha: 对中国或其它国家那些有志于拍摄电影的人,你有什么建议?

Voutas: 坚持不懈。这是一场漫长的比赛。犯错误是可以的,甚至失败也行,这就是所谓的学习。你往往前进两步,又要后退一步,有时甚至会跌倒。这就是现实。尽你所能讲故事。就算你只是拿着手机拍摄也没关系,重要的是要继续努力,别放弃。

King of Peking will have an upcoming screening in Beijing, along with a Q&A session with the director. See below or click here for details.

 

Event: King of Peking: Film Screening and Director Q&A

Time: Wednesday, December 13th, 2017, 7 ~ 9:30 pm

Cost: 50 RMB

Address:
The Hutong
1 Jiudaowan Zhongxiang
Beixinqiao, Dongcheng District
Beijing, People’s Republic of China


《京城之王》即将在北京举办放映,现场还会有一个与导演进行的问答环节。浏览下方或登陆网站了解更多。

 

活动:《京城之王》电影放映和导演问答

时间: 星期三,2017年12月13日,下午7点至9点30

费用: 50元

地址:
中国
北京市东城区
北新桥九道湾中巷1号
The Hutong

Facebook: ~/kingofpeking

 

Contributor: George Zhi Zhao


脸书: ~/kingofpeking

 

供稿人: George Zhi Zhao

No Word From Above

Li Hui is a Hangzhou-based photographer who has been trying to express her sensitive personality and feelings through photography ever since she got her first film camera. Influenced by cinema, music, nature, and the human body, Li’s creative development stems from her willingness to continuously experiment with the medium. When viewing her masterful use of light and distinct style, many find it hard to believe that she’s a self-taught artist. Recently, the talented photographer self-published her third photography book, No Word From Above, which features a collection of her images from 2016 to 2017.


李晖是一名身在杭州的摄影师,自她有了第一部相机之后,她就一直在试图通过镜头传达自己的切身感受和易感的个性。受到来自电影、音乐、自然和人体的影响,李晖作品中的创造性正是因为她热衷于不断实践。她熟练掌握的光影技能和具有个人辨识度的风格,让人很难相信她是一个自学成才的艺术家。 她出版了几本摄影书籍,最近刚刚发行了自己出版的书《No Word From Above》。她的作品已被世界各地不同的出版物和杂志刊登。


No Word From Above is available for purchase on Li’s website, Tictail, and Weidian. Signed and numbered in a limited edition of 500.


《No Word From Above》现在可以通过李晖的个人网站Tictail微店进行购买,限量签名版总计500份。

No Word From Above by Li Hui

$37

Buy Now


Li Hui《No Word From Above》

¥168

立刻购买

Full Product Details:

  • Year of Publication: 2017年
  • Size: 21cm x 14cm
  • Number of Pages: 72
  • Paper: 170gsm fine art paper
  • Print Quantity: Limited edition of 500 copies
  • Each book is numbered and signed
  • Price: 37 USD

全副产品信息:

  • 出版年份: 2017年
  • 尺寸: 21 x 14 厘米
  • 页数: 72
  • 纸张: 170gsm 新伯爵纸
  • 发行量: 限量500本
  • 每本独立编号亲笔签名
  • 价格: ¥ 168 RMB

Websitewww.huiuh.com
Instagram: @huiuh_

 

Contributor: George Zhi Zhao


网站: www.huiuh.com
Instagram: @huiuh_

 

供稿人: George Zhi Zhao

Strawberries Will Save the World

 

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Japanese director Yoko Okumura’s Strawberries Will Save the World is a short and whimsical documentary that takes viewers into the life of Yuko Okumura, an avid strawberry enthusiast and the director’s own mother. Yoko’s main instruction to her production team was to make the film “Make it cute. Make it really really cute! ” Strawberry mugs, strawberry socks, strawberry glasses, strawberry spatula, and even a strawberry-related chatroom – Yuko’s life and home is filled to the brim with anything and everything strawberry related. In Japanese, the word for strawberry is ichigo, which can be dissected into ichi (meaning one) and go (meaning five). As a result, the number 15 is considered to be related to the fruit. And whether it’s checking the time or driving around, Yuko feels like the number 15 shows up everywhere she goes even though she’s not looking for it. This became affirmation that, all along, it wasn’t her searching for strawberries – strawberries are naturally drawn to her.


居住在美国的日本影片制作人 Yoko Okumura拍摄了一部记录短片,讲述了一个草莓疯狂痴恋者的故事,而影片的主人公 ——Yuko Okumura,正是她的妈妈。短片以一种轻松可爱的手法讲述了Yuko女士对草莓的痴狂。拍摄的时候,导演Yoko Okumura给团队的要求就是:“拍得可爱一些,拍的非常非常可爱。” 草莓杯、草莓袜、草莓眼镜和草莓锅铲甚至是草莓聊天室,Yuko女士家中塞满了和草莓相关的一切,或者说,她的生命也是和草莓紧紧关联在一起的。在日语中,草莓的发音与数字“15”的发音一致, Yuko女士说每当她拿起手机或开车的时候,总能自然地看到”15“这个数字,仿佛不是她在找草莓,而是草莓进入了她的生活。

The internet has allowed Yuko to connect with other like-minded strawberry lovers and share her impressive collection with them. She’s now a member of a Japanese association of strawberry enthusiasts and is even brainstorming on how to shoot an entire movie about strawberries. As this simple fruit has brought so much joy to her own life, Yuko feels compelled to spread this same happiness to more people around the world. Watch the documentary above to see how Yuko plans to channel more positivity into the world with the power of strawberries.


现在,Yuko女士是日本一个草莓爱好者协会的成员,她通过网络向和她一样喜欢草莓的朋友们分享她的收藏,甚至还在筹备着一部和草莓相关的电影。Yuko女士一直坚信着一件事——草莓可以拯救世界。草莓为她的生活带来了太多的欢乐,而她正尝试着将这些欢乐传递出去,影响更多的人。观看上方的影片,感受这对母女用草莓向世界传递的童趣和正能量。

Website: yokofilm.com
Vimeo: ~/yokookumura

 

Contributor: Ye Zi


网站yokofilm.com
Vimeo~/yokookumura

 

供稿人: Ye Zi

Shanghai Queer Film Festival 2017

Sodom's Cat by Huang Ting-Chun

The Shanghai Queer Film Festival (SHQFF) is a newly launched annual festival that looks to use cinema as a device for telling the LGBTQ+ story in an approachable way and encourage discussion around the topic of sexuality. As a completely volunteer-run and non-profit event, SHQFF aims to create a platform where filmmakers, especially those of an Asian background, and audiences can meet, converse, and share with one another it means to be LGBTQIA in modern times.


上海酷儿影展(Shanghai Queer Film Festival,简称SHQFF)是一个新成立的年度电影节,旨在通过电影,讲述 LGBTQ+群体的故事,鼓励人们就性取向问题进行讨论。作为一个完全由志愿者组织的非盈利性活动,SHQFF 的目标是打造一个平台,让电影制作人——尤其是亚洲的电影制作人——可以与观众进行交流,向人们展示当代LGTQIA的生活。

Tales of the Lost Boys by Joselito Altarejos
Chromosome Sweetheart by Honami YANO
Contestant#4 by Kaj Palanca, Jared Joven
Us by Caroline Mariko Stucky

The inaugural event will kick off on September 16th and end on September 24th, beginning with a double feature showing of Orientations: Lesbians and Gay Asians and Re:Orientations, two films by director Richard Fung. The first film, released in 1986, examines the lives of lesbians and gay Asians in Toronto during the 1980s. The latter film, released in 2016, is a look at seven of the fourteen lesbians and gay men interviewed in the first film, showing how their lives and the world around them has changed over the last thirty years.


影展将于9月16日开幕,持续至9月24日结束,最先上映的是由加拿大导演Richard Fung执导的两部电影:《Orientations: Lesbians and Gay Asians》和《Re:Orientations》。第一部电影于1986年首映,探讨了女同性恋者和多伦多亚裔同性恋者在1980年代的生活。而第二部的影片于2016年上映,把镜头对准了第一部电影中采访过的14位女同性恋以及男同性恋者中的7位,展示他们的生活和四周的世界在过去三十年间发生的变化。

Other notable screenings during the week of festivities will include more films such as Tales of the Lost Boys, Starting Over, The Ornithologist, and more. Beyond these, the festival will also be screening 15 films from finalists of the SHQFF Short Film competition. Yu, a member of the film selection committee, explains that using film to tell stories of LGBTQ+ culture will help “reveal an abundance of queer Asian characters, encourage discussion on queer culture in the East, and represent diversity the diversity of love and freedom.”


在这个为期一周的影展中,其它值得关注的电影还包括许多近来新拍的电影,譬如《他和他的心旅程》(Tales of the Lost Boys)、《从头来过》(Starting Over)、《鸟类学家》The Orinithologist)等等。除此之外,影展还会展映SHQFF短片竞赛单元的15部入围电影。电影推选委员会成员之一Yu解释说,通过电影讲述LGBTQ+文化可以“揭示丰富多样的亚洲酷儿面貌,鼓励亚洲人们对酷儿文化的讨论,展示爱和自由的多元性。”

Herstory by Han Zhang, Cong Chen
Sodom's Cat by Huang Ting-Chun

“We are proud to offer this new platform for queer cinema, and to showcase some of the best queer films from around the world,” says Ting, the founder of SHQFF. “We hope this new platform can help Chinese and Asian filmmakers to showcase their work, as well as create a network for them to connect and bring them closer to audiences.”


SHQFF的创始人Ting说:“我们很自豪可以成立这样一个全新的酷儿电影平台,展示世界各地一些最优秀的酷儿电影。我们希望这个新平台可以帮助中国及其它亚洲地区的电影制片人展示他们的作品,同时,创造一个让他们相互联系、更接近观众的网络。”

Website: shqff.com
Facebook: ~/shqff
WeChat: SHQueerFilmFestival

 

Contributor: David Yen
Images Courtesy of SHQFF


网站: shqff.com
脸书: ~/shqff
微信: SHQueerFilmFestival

 

供稿人: David Yen
图片由SHQFF提供

Scars & Death

Following the success of NANG‘s inaugural issue, “Screenwriting,” the Asian cinema-focused magazine takes a more abstract leap behind the scenes of filmmaking in their second publication “Scars and Death.” Korean film critic, publisher, and lecturer Yoo Un-Seong partnered with Filipino filmmaker, writer, and musician John Torres as this issue’s guest editors. Together with the NANG team, they explored the theme of “the death of cinema,” or rather, the changes in cinema, and the real life suffering involved with making a movie.


继第一期“编剧”《NANG》Issue 1 大获成功后,在第二期“伤痕与死亡”中,以更为抽象的方式,带领读者一探幕后电影制作的主题。韩国电影评论家、出版商和讲师Yoo Un-Seong携手菲律宾电影制片人、作家和音乐家John Torres,担任本期杂志的客座编辑。《NANG》杂志团队通过对“电影的死亡”的探索——或者更确切地说是电影的变化以及电影拍摄中各种现实困难的变化,来诠释本期主题。

The contributors for this issue include writers, filmmakers, scholars, bloggers, and artists who hail from the likes of Japan, South Korea, the Philippines, the USA, Indonesia, Singapore, Vietnam, India, and Kazakhstan. The poignant brief is as follows: “Write about scars and death. Die for the piece and swear by it. For the scarred workers, the dedicated, the desperate enough, for those dying to be offered another chance. For the films we have lost, the scenes that are scarred by time, those missing frames, abrupt endings and low resolutions. For the ones who died on- and off-screen, for deaths we haven’t seen. For those who risk life savings for a fictional piece. For all others who toil away, INT/EXT, their bodies taking it, DAY/NIGHT.”


本期杂志的投稿作者包括作家、电影制片人、学者、博主和艺术家,他们分别来自日本、韩国、菲律宾、美国、印度尼西亚、新加坡、越南、印度和哈萨克斯坦。本期的主题简介直击人心:撰写关于伤痕和死亡的故事。献给那些为电影而献身的人,那些对电影怀以绝对信仰的人。献给那些伤痕累累的工作人员,那些全身心投入电影界,不顾一切的,渴望获得再一次机会的人。献给我们失去的电影,那些被时间褪色的画面,那些缺失的帧,突然的结局和低分辨率的影像。献给那些在银幕上和银幕背后逝去的人,献给那些我们未曾目睹的死亡。献给那些为拍摄虚构作品甘冒生命危险的人。献给所有辛劳工作的人,不论是在内景或外景拍摄;他们的身体一直在工作,无论白天或黑夜。

Like issue one, “Scars and Death” is also 120 pages. The new issue features stories from Gulnara Abikeyeva, Paul Agusta, Chris Fujiwara, Pujita Guha, Daniel Hui, Kim Jungkoo, Adrian D. Mendizabal, Miko Revereza, Shireen Seno and Kidlat Tahimik, as well as photography by Nguyen Trinh Thi, Sean Lee, Dennese Victoria and Jippy Pascua.


“伤痕与死亡”和《NANG》Issue 1一样,共有120页,本期文章作者包括:Gulnara Abikeyeva,Paul Agusta,Chris Fujiwara,Pujita Guha,Daniel Hui,Kim Jungkoo,Adrian D. Mendizabal,Miko Revereza,Shireen Seno 和Kidlat Tahimik,图片由Nguyen Trinh Thi,Sean Lee,Dennese Victoria 和Jippy Pascua 提供。

Issue 2 of NANG is now available in the Neocha Shop in limited supply.


《NANG》Issue 1 限量发行,现已于Neocha商店发售。

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“伤痕与死亡”《NANG》Issue 2

¥180

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Details:

  • Year of Publication: 2017
  • Edition Size: 1500
  • Number of Pages: 122 (including front and back cover)
  • Size: 17 x 24 cm
  • Binding: Swiss binding
  • Printing: Offset (Hybrid Print Technology)
  • Paper: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • Price: $25

详情

  • 出版年份: 2017年
  • 发行量:1500
  • 页数:122 页 (包括封面和封底)
  • 尺寸:17 x 24 厘米
  • 装订:Swiss binding
  • 印刷:平版印刷(混合打印技术)
  • 纸张: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall 90 g/m²
  • 价格: ¥180

Websitenangmagazine.com
Facebook~/NangMagazineAsia
Instagram@nangmagazine

 

Contributor: Whitney Ng


网站nangmagazine.com
脸书~/NangMagazineAsia
Instagram@nangmagazine

 

供稿人: Whitney Ng

Roller Coaster India

 

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“During my trip to Kolkata, India, I could only think of one thing: roller coaster,” says Cuban filmmaker Yuribert Capetillo Hardy. As the name suggests, Hardy’s short film Roller Coaster India is nothing short of a vibrant, and at times, dizzying spectacle. The film’s point of view twists from scene to scene with almost zero delay, delivering a sensory overload that Hardy describes as a visualization of his feelings, fears, and emotions while traveling through India.


古巴电影制片人Yuribert Capetillo Hardy说:“在印度加尔各答旅游时, 我只能想到一个词——过山车。”顾名思义,他所拍摄的短片《Roller Coaster India》是一部充满活力,甚至可以说令人眩目的视觉影像。影片的各个场景快速地切换着,带来目不暇接的视觉体验,Hardy解释道,这正是对他在印度旅行时的感觉、恐惧和情感的“视觉化表达”。

The film is a choppy glimpse into everyday life on the streets of India, forcing viewers to cling to each scene. Hardy, who is now based in Holland, remarks that these moments are a stark contrast to his daily life but also make him reminiscent of his own childhood in Havana, Cuba. “Compared to my week in India, I realized that my life in the streets of Havana wasn’t that bad after all. The energy of this country, the spirituality of the people, and the spark in their eyes made this the trip of a lifetime.”


这部影片展示了印度街头日常生活的各种片段,迫使观众专注地观察每一个场景。Hardy现在在荷兰生活,他表示,影像中的生活和他平常的生活截然不同, 但使他想起了自己在古巴哈瓦那的童年。“我在印度度过的这一周, 让我意识到,曾经在哈瓦那街头的生活也没有很糟糕。这个国家的活力、人们的精神和他们眼中的火花, 使这场旅行成为了一次终生难忘的经历。”

Website: yosoyvideo.nl
Facebook: ~/Yosoyvideo
Instagram: @yosoyvideo

 

Contributor: Whitney Ng


地址: yosoyvideo.nl
脸书: ~/Yosoyvideo
Instagram: @yosoyvideo

 

供稿人: Whitney Ng

Listening Through the Lens

Hai Thanh is a photographer based in Hanoi, Vietnam. His photography is a visual diary of his daily life, showing the people he comes across and the environments they live in. A graduate of the graphic design department at the University of Industrial Fine Arts in Hanoi, Thanh went on to pursue his passion for photography full-time, working as a photojournalist for both domestic and online news outlets.


Hai Thanh是来自越南河内的一名摄影师。他用摄影来记录自己的日常生活,展现他所遇到的人和他们生活的环境。从河内工业美术大学平面设计系毕业后,他选择了自己热爱的摄影事业,成为了一名全职摄影师,为越南国内媒体及在线新闻媒体工作。

Thanh’s personal philosophy is that photography is an art form that goes beyond any categorizations of genre. He says, “I consider myself as a photographer, not a street photographer, documentary photographer, or photojournalist. These are just names. Sometimes I use photography a method of self-expression, and other times I try to tell stories about the people I care about.”


他的个人哲学是,摄影是一种个人的艺术形式,超越任何形式的分类。他说: “我觉得自己就是一名摄影师,不是街头摄影师,也不是纪录片摄影师或是摄影记者。这些都只是头衔。有时,我用摄影来表达自己,有时,我用摄影来给我关心的人讲故事。”

As street photography becomes more popular in Vietnam, Thanh strives to maintain an honest approach to his work on the street and his relationship to his subjects. He says, “When I’m doing street photography, I don’t try to find dramatic situations, and I’m not a big fan of ‘decisive moments.’ I take photos as naturally and simply as I can. I love photographing the emotional connection between people… I don’t think much about whether or not I can get ‘good pictures.’ I care about the connection between myself and the people I photograph. The process of photography is not only about taking pictures but also about talking and understanding.”


随着街头摄影在越南越来越流行,Thanh 在街头拍摄时也会努力保持贴近现实,在与摄影对象的关系中保持真诚的态度。他说:“当我在进行街头摄影时,我不会试图去寻找戏剧性的场面,也不会特别热衷于‘决定性时刻’这类风格的摄影。我按照尽可能自然和简单的方式来拍摄。我喜欢记录人们之间的情感联系……我不会考虑太多能不能拍到‘好照片’的问题。我关心的是我和拍摄对象之间的联系。摄影的过程不仅是拍照,更是沟通和理解。”

Thanh is currently working as a freelance editorial and documentary photographer focused mostly on social issues. In addition, he is also working on a personal project on autistic children in Vietnam. He shares his knowledge with other photographers by hosting workshops on street photography and visual storytelling across the country. As he deals with the responsibilities of raising a family, he continues his dedication to photography and offers us his thoughts on his changing relationship with the artform. “I heard this said before by another photographer – ‘photography is more and more about being on your own as you get older.’ Your pictures are talking about yourself. Photography means a lot to me – it’s my way of thinking, speaking, and listening.”


业的编辑和纪录片摄影师,作品主要围绕当今的社会问题,同时也在进行一个关于越南自闭症儿童的个人项目。他在全国各地举办街头摄影和视觉叙事的研讨会,和其他摄影师分享自己的知识。当他有了自己的家庭后,他继续献身于摄影,和我们分享他对于自己和艺术形式之间不断变化的关系的一些想法。“我之前曾听过另一位摄影师说,随着年龄变大,摄影会越来越像是一件属于你自己的事情。你的照片讲述的就是你自己。摄影对我来说意义重大,它是我思考、说话和倾听的方式。”

Tumblrhaithanhptw.tumblr.com
Instagram@haithanhptw

 

Contributor: George Zhi Zhao


Tumblrhaithanhptw.tumblr.com
Instagram: @haithanhptw

 

供稿人: George Zhi Zhao

Small Talk

 

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On the 24th of May 2017, Taiwan’s top court ruled in favour of marriage equality, making Taiwan the first in Asia to legalise gay marriage. Upon the outbreak of this news, Taiwanese director Huang Hui-Chen shared a heartwarming sentiment on her Facebook page stating, “love will always find a way.”


2017年5月24日,台湾最高法院裁定婚姻平等,使台湾成为亚洲第一个同性婚姻合法化的地区。消息公布之后中,台湾导演黄惠侦 在脸书上发布了一个情感真挚的帖子:“願天下有情人終成眷屬” 。

Huang was a political activist before she began making documentary films; she rose to fame after her feature film, Small Talk, premiered at the 53rd Golden Horse Film Festival. Small Talk is a riveting documentary that comprises of sit-down interviews that take place between Huang and her estranged lesbian mother, A-nu. When Huang gave birth to a daughter of her own in 2012, she felt further compelled to repair her alienating relationship with her mother. Despite the two living under the same roof, they co-exist as strangers with little to no human interaction.


在拍摄纪录片之前,黄惠侦曾是一名政治活动家,因为个人导演的电影《日常对话》在第53届金马电影节上首映后一举成名。《日常对话》是一部备受关注的纪录片。影片由多段黄惠侦与她曾疏远了的同性恋母亲阿女之间的访谈组成。2012年,黄惠侦生下了自己的女儿,同时也更迫切地希望能修复与母亲之间的关系。尽管两个人生活在同一个屋檐下,却像陌生人一样,几乎没有任何互动。

At times, the documentary is filled with long silences and an uncomfortable tension. With each talk, Huang probes her mother who reluctantly begins to reveal layers of her past. Beyond these emotion-driven conversations, the film also consists of interviews with A-nu’s previous and present lovers, her siblings, and a few home videos that were shot over the past two decades. The film adds an extra level of intrigue for viewers who journey along with Huang, an open-minded heterosexual daughter who is desperately trying to connect with her evasive homosexual mother.


影片中出现了多次长时间的沉默和令人不舒服的紧张感。每次“谈话”,黄惠侦都在进一步促使母亲不情愿地层层透露自己的过去。除了这些情绪驱动的对话之外,影片中,黄惠侦还与阿女以前和现在的恋人、她的兄弟姐妹之间进行了对话,并穿插了过去二十年间的几段家庭影片。作为一名开明的异性恋女儿,黄惠侦在努力试图与讳莫如深的同性恋母亲接近距离,影片也试图为一路跟踪这一过程发展的观众呈现一些更引人入胜的体验。

At the beginning of 2017, Small Talk was awarded Best Documentary at the Teddy Awards in Berlin, casting a warm spotlight on LGBTIQ families in Taiwan. Small Talk not only offers viewers an intimate insight into rural Taiwanese culture but also into the fragile relationship that exists within Huang’s family, and that is what makes the film so universally relevant.


2017年初,《日常对话》被评选为柏林泰迪熊奖最佳纪录片,引起人们对台湾LGBTIQ家庭的关注。《日常对话》向观众呈现了对台 湾乡村文化的深刻洞察,同时带领观众探讨导演黄惠侦家庭中存在的脆弱关系,而这也正是这部电影如此广泛地引起人们共鸣的原因。(LGBTIQ指女同性恋者(Lesbians)、男同性恋者(Gays)、双性恋者(Bisexuals)、跨性别者(Transgender)、双性人(intersex),以及酷儿(Queer)和/或对其性别认同感到疑惑的人(Questioning))

Website: smalltalkthefilm.com
Facebook: ~/smalltalkfeaturedoc

 

Contributor: Whitney Ng


网站smalltalkthefilm.com
脸书~/smalltalkfeaturedoc

 

供稿人: Whitney Ng

SPRING IS NOT FOR SCHOOL

 

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Shenzhen-based streetwear brand ROARINGWILD is back with their latest volume of EYESIGHT, an ongoing project that showcases different interpretations of the ROARINGWILD brand spirit through the lens of different photographers. For the eighth edition of the series, they’ve enlisted the help of Wang Wei, a Beijing-based fashion photographer who works solely on 35mm analog film. Forgoing the gritty urban backdrops and modern techwear stylings of past collaborations for a mostly barren countryside and vibrant splashes of colors, Wang’s signature style shines through in this reimagining of the ROARINGWILD attitude, evoking a sense of youth and freedom that has come to define his work. See more photos from the collaboration below.


深圳街头时尚品牌ROARINGWILD携全新EYESIGHT系列回归。这个持续至今的项目旨在通过不同摄影师的镜头,展现对ROARINGWILD品牌精神的不同解读。作为该项目的第八个系列,他们邀请了王未掌镜,一位坚持只以35mm胶片摄影的北京时尚摄影师。全新系列抛弃以往系列的城市背景和机能风格,来到远离都市中心的郊外,在充满活力色彩的影像中,王未以其标志性摄影风格对ROARINGWILD品牌态度进行全新演绎,满溢年轻和自由气息。下面是此次合作系列中的更多作品。

Website: roaringwild.net
Facebook: ~/ROARINGWILDOFFICIAL
Flickr: ~/wang_wei

Instagram:
@ROARINGWILD
@wangwei_instagram

Weibo
~/ROARINGWILD
~/wangwei5945

 

Contributor: David Yen
Photographer: Wang Wei

Stylist: Sen Wung
Videographer: Vonka Wu


网站: roaringwild.net
脸书~/ROARINGWILDOFFICIAL
Flickr: ~/wang_wei

Instagram:
@ROARINGWILD
@wangwei_instagram

微博
~/ROARINGWILD
~/wangwei5945

 

供稿人: David Yen
图片摄影师: 王未

造型师: Sen Wung
视频摄影师: Vonka Wu

An Experiment with Alchemy

 

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Each year, China-born and Japan-based fashion designer Leonard Wong releases a new short film for his self-titled label during fashion week. Created in collaboration with the creative duo INSIDE FLESH, Wong’s latest film, Alchemy, accompanies an experimental clothing line of the same name. The garments depicted in the film aren’t available to the public but acutely convey Wong’s affinity for bold lines, one of the most vital aspects in all of his designs.


《ALCHEMY》是由居住在日本的华裔时装设计师Leonard Wong为他的同名服装品牌所创作的的艺术短片,由INSIDE FLESH执行拍摄。每年的时装周发布会上,Wong会在发布时装设计作品的同时,也发布一支关于他品牌的艺术短片。那些出现在短片里的试验线服装,虽然不是生产后投入市场的成衣,但这些短片呈现出了Leonard Wong品牌试验线的意识形态,也是他设计作品中不可或缺的一部分。

Wong brought in Poland-based performance artist Sylvia Lajbig and Japanese dance duo AyaBambi to create this experimental film. The choreography for Alchemy is characterized by raw, explosive power, an energy that’s infused with feminine grace and surreal tension. Moving in a new artistic direction, the film appropriately conveys Wong’s ongoing mission of breaking out of conformity in order to create something new and exciting. “I’m good friends with AyaBambi in my personal life. We’ve collaborated many times in the past in all sorts of different ways. I feel like our auras are quite similar. And because of our like-mindedness, the video shoot went quite smoothly.”


在这支短片中,Wong邀请到日本双人舞蹈组合AyaBambi与形为艺术家Sylvia Lajbig合作。她们所创作的舞蹈以爆发力为特点,编舞具有女性的阴柔之美,但同时又以诡异的张力著称,其中也不乏夸张的艺术手法,这种打破传统的表现方式和Leonard Wong一直追求的品牌理念——“颠覆传统,特异独行”契合度很高,性格中的相似性让他们不谋而合。Wong和我们分享道:“私底下我与AyaBambi就是好朋友,有过几次不同形式的合作,我感觉我们的气场很合很投缘,在拍摄的过程中一切都进行得非常顺利,因为我们的想法也都很接近。”

Inspired by the actual protoscience of alchemy, Wong describes creating this experimental fashion line as his discovery of the Philosopher’s Stone, which is a legendary alchemical substance that’s known as being able to bestow immortality and give access to an unbridled energy, one that can transmute rocks into precious metals and merge humans with animals to unpredictable results. Watch the entirety of Leonard Wong’s magnum opus above.


这支短片的创作灵感来自于炼金术 (alchemy),并以此命名。炼金术象征永垂不朽,一种肆无忌惮的能量使石头变为金属,也融合了人类和动物,带来的结果无法预料。点开上方视频,看看Leonard Wong营造的实验性世界吧。

Websites:
leonardwong.jp
ayabambi.net

Instagram:
@leonardwong_official
@ayasato_official

Vimeo~/leonardwong

 

Contributor: Ye Zi
Video & Images Courtesy of Leonard Wong


网站:
leonardwong.jp
ayabambi.net

Instagram:
@leonardwong_official
@ayasato_official

Vimeo~/leonardwong

 

供稿人: Ye Zi
视频与图片由Leonard Wong提供