here are the answers for your questions. thanks. and pls don't call me 導演 i am an artist, not a director. thanks. happy christmas and wish you folks the most success in the screenings. anson
记： 您覺得在內地和香港，拍攝獨立電影最大的區別的什麼？ 麦：i basically do experimental documentary (moving images in general, not "film"), which is not majority of independent film (story and issue-oriented straight documentary), i am not very sure of how to answer your question because your question has kinda frame a parallel to the nature/styles of independent film/video (moving images) in both cities.
yet, i guess from the cultural and political differences, hk is more afree city to do whatever while in beijing, in case of controversial issues, there may be more difficulties, both in terms of production process and also screening possibilities.
in terms of $ and screening possibilities, i do experimental works and without market (at all), it's hard to compare. i am not sure of other experimental avant garde moving image works in beijing.
记：為什麼是選擇了用實驗式紀錄片來講述您們自己的故事？ 麦：i have been doing this for a long time, 20 years... and avant garde cinema has it's histories, development and progressiveness and reflectiveness that story film and documentary (observational, expository type of documentary) can't do. it touches people sub-conciseness and "the other" mind, i mean the other rather than the rational and direct "feeling" set of mind. it triggers things that people can't feel/think normally.
记：您說你們是用歷史的對照 在講自己的故事， 而對於歷史，您有什麼看法？ 麦：it is a big question. i don't know how to put it in a few words.to put it simpler, i think what hong kong in lack of is NOT art, but knowledge of histories which is reflections to our multiple past(s). i was brought up in the colonial times, histories was a void.unfortunately, even after china take over hk, the younger generation still doesn't know our past (with a abstract and general"nationality"), and thus their self.personal and cultural and political histories can't be separated andONLY the three trajectories join, we know what we are, and what wewant to do, that is FUTURE. thus, community histories and personal histories are treasure.
if we don't know our past, we don't know our FUTURE.
regarding the further elaboration of 對照 , it's also my aesthetic form.there are a lot of seemingly binary pairs in the work -- past/present,documentary/story, inside/outside, local born hong konger andimmigrant from china, moving/rootedless, sound (over)/image (which is not what most film/video do), super 8 film (present landscape willgross texture)/16mm film (old landscape with fine texture), yet, whenfurther experience the work, audience realize (in their own ways)those binary pairs are really oppositional, they are overlapping,sometimes in polar end, and sometimes merging together...hence, the form also working with they concepts and issues.
i refer to you to a writing of my film on this question:
记：從本部影片說起，您提到您們自己是浮游又凝固的主體，此話怎講呢？ 麦：when going back to histories, we are tyring to deal, rework, re-defineour subjectivity (how we understand ourselves, via identity, as hongkonger, and from how we understand histories). however, i hate thekind of rigid identity from the present sense of "chinese nationality" or anti-colonial which are very sperficial and doesn't help people tohave deeper reflections. our subjectivites should be fixed at onepoint, tarry a bit, then try other trajectories of thoughts...this aspect also related to the previous question.you can read this writing for further understanding.
记：您可以說是身兼數職，寫作、音樂、導演、行政、教師、編輯。這樣多的身份是否正應了您說的穿越過程中的浮游狀態。 麦： no. it doesn't related to that theme. that 浮游狀態 theme is not that simple -- not just the notions ofdifferent social roles.
it's more about cultural identity and how we can build up our subjectivities via identities from learning/understanding of histories (personal and political).
i always think a person can be multi-talented. just the educational system/hong kong culture in general that asks for "experts".
记：最後一個問題，關於"香港獨立電影在北京"，有什麼想說的麼 ？ 麦：i wish people will like the works. and i hope there will be morecommunication, exchange in the future. thank you very much.
hi meng,
here are the answers for your questions.
thanks.
and pls don't call me 導演
i am an artist, not a director.
thanks.
happy christmas and wish you folks the most success in the screenings.
anson
记： 您覺得在內地和香港，拍攝獨立電影最大的區別的什麼？
麦：i basically do experimental documentary (moving images in general, not
"film"), which is not majority of independent film (story and issue-oriented straight documentary), i am not very sure of how to answer your question because your question has kinda frame a parallel to the nature/styles of independent film/video (moving images) in both cities.
yet, i guess from the cultural and political differences, hk is more afree city to do whatever while in beijing, in case of controversial issues, there may be more difficulties, both in terms of production process and also screening possibilities.
in terms of $ and screening possibilities, i do experimental works and without market (at all), it's hard to compare. i am not sure of other experimental avant garde moving image works in beijing.
记：為什麼是選擇了用實驗式紀錄片來講述您們自己的故事？
麦：i have been doing this for a long time, 20 years... and avant garde cinema has it's histories, development and progressiveness and reflectiveness that story film and documentary (observational, expository type of documentary) can't do. it touches people sub-conciseness and "the other" mind, i mean the other rather than the rational and direct "feeling" set of mind. it triggers things that people can't feel/think normally.
记：您說你們是用歷史的對照 在講自己的故事， 而對於歷史，您有什麼看法？
麦：it is a big question. i don't know how to put it in a few words.to put it simpler, i think what hong kong in lack of is NOT art, but knowledge of histories which is reflections to our multiple past(s). i was brought up in the colonial times, histories was a void.unfortunately, even after china take over hk, the younger generation still doesn't know our past (with a abstract and general"nationality"), and thus their self.personal and cultural and political histories can't be separated andONLY the three trajectories join, we know what we are, and what wewant to do, that is FUTURE.
thus, community histories and personal histories are treasure.
if we don't know our past, we don't know our FUTURE.
regarding the further elaboration of 對照 , it's also my aesthetic form.there are a lot of seemingly binary pairs in the work -- past/present,documentary/story, inside/outside, local born hong konger andimmigrant from china, moving/rootedless, sound (over)/image (which is not what most film/video do), super 8 film (present landscape willgross texture)/16mm film (old landscape with fine texture), yet, whenfurther experience the work, audience realize (in their own ways)those binary pairs are really oppositional, they are overlapping,sometimes in polar end, and sometimes merging together...hence, the form also working with they concepts and issues.
i refer to you to a writing of my film on this question:
認同與超越的覺醒 ﹣﹣ 陳智德
http://www.aahsun.com/wpblog/?p=979
记：從本部影片說起，您提到您們自己是浮游又凝固的主體，此話怎講呢？
麦：when going back to histories, we are tyring to deal, rework, re-defineour subjectivity (how we understand ourselves, via identity, as hongkonger, and from how we understand histories). however, i hate thekind of rigid identity from the present sense of "chinese nationality" or anti-colonial which are very sperficial and doesn't help people tohave deeper reflections. our subjectivites should be fixed at onepoint, tarry a bit, then try other trajectories of thoughts...this aspect also related to the previous question.you can read this writing for further understanding.
認同與超越的覺醒 ﹣﹣ 陳智德
http://www.aahsun.com/wpblog/?p=979
记：您可以說是身兼數職，寫作、音樂、導演、行政、教師、編輯。這樣多的身份是否正應了您說的穿越過程中的浮游狀態。
麦： no. it doesn't related to that theme.
that 浮游狀態 theme is not that simple -- not just the notions ofdifferent social roles.
it's more about cultural identity and how we can build up our
subjectivities via identities from learning/understanding of histories
(personal and political).
i always think a person can be multi-talented. just the educational
system/hong kong culture in general that asks for "experts".
记：最後一個問題，關於"香港獨立電影在北京"，有什麼想說的麼 ？
麦：i wish people will like the works. and i hope there will be morecommunication, exchange in the future. thank you very much.
2008年12月26日