[活动]12月27日天津影迷幼儿园《再见乌托邦》放映暨导演交流

2009-12-23 13:05:47 　　来自: 跑堂

活动详情


地点:: 天津天津市摇滚天津俱乐部（和平区大沽路与赤峰道交口55号口腔医院对面）
开始时间:: 2009-12-27 14:00
结束时间:: 2009-12-27 18:00
活动描述:: 费用：免费
时间：09.12.27 14：00
地点：天津市摇滚天津俱乐部（和平区大沽路与赤峰道交口55号口腔医院对面）

主办方：天津影迷幼儿园、摇滚天津俱乐部
合作方：南开大学电影协会、师范大学星空校园影社、芥子工作室、角落音乐沙龙

制作年份：2009年
色彩模式：彩色
时长：90分钟
播放载体：HD
字幕语言：中英文
制作机构：stage
职员表
导演……盛志民
摄影……田荔
剪辑……盛志民
制片人……张承勷王木木

故事概述

Synopsis
《再见乌托邦》

小珂（吴珂）在1990年前一年八平方事件刚过去不久的街头，他与父亲行走在北京的夜里，那一夜他抱住了父亲，含着泪告诉父亲，自己不再上学，要开始搞摇滚，父亲看着自己唯一的儿子，答应了他的请求，之后小珂开始摇滚生涯，吸毒却致使他在8年后服用过量的止痛剂结束了自己24岁的生命。
如今，他没有坟墓，没有一张专辑中出现过他的名字，在互联网的强大的搜索引擎中，只能找到一条同样的信息——曾经做梦乐队的吉它手，再没有其他的记载。甚至很多与他一起从事摇滚的人们也无法确定他是否死去，现在人们的讲述中我们进入小珂的真实世界。

小畅一个17岁的山东农村的孩子，是他所在的村子唯一上艺校学习的音乐的孩子，他的父母只能支付他一年高昂的学费，一年后他家里已经无法负担他继续学习音乐，他只身一人来到北京打工，他所打工的地方是一个排练场，他每天的工作是，负责排练场的卫生。从下午开始一直到深夜，不同的摇滚乐队在三个排练场不停的排练，在这里他见到了何勇、张楚、崔健。但在他心中有自己对音乐的理解，他认为那些摇滚的明星的音乐太小众，他想写出更大众的摇滚音乐，他预支了自己的工资，把一首自己写的歌录成了小样，准备放在互联网上，这样他就能通过下载得到收入。春节快到了，他不知道自己该不该回家，身上的钱只够路费，没有多余的钱给父亲和母亲买礼物，更大的担心是回家后可能就要跟随父亲去陕西煤矿挖煤，而不能再继续自己的音乐生活，他犹豫着，在一天夜晚他去找了自己的老乡，老乡们谈论着如何在北京赚钱，他只能听他们的谈话，而觉得自己已经跟他们是不一样的人，夜晚他回到排练场，一边哼着自己写的歌，一边铺床睡觉，歌的名字是《我要做个有钱人》。

吴路奇——小珂的父亲，这位曾经把崔健推上中国音乐舞台的人，中国第一位流行音乐编辑。在儿子死去11年后，每天的生活就是看看电视，与老伴照看自己的汽车装饰小店，老吴总想起从前的日子，他认为现在比以前好多了，政治的压力是最大的压力，现在总算是没有了政治压力，年轻人最多是房子的压力。小店的生意现在还不是很好，每天没有多少客人，他就指望着店对面的高档汽车专营店开起来，生意就会好了，春节快到了，他问老伴今年春节想去哪玩，老伴说听他的。

从1986年开始的中国摇滚乐运动，经历了启蒙，发展，辉煌，落寞的轨迹，曾经与小柯一同经历摇滚生活的艺术家，其中最具有代表性的艺术家崔健、张楚、何勇、窦唯也走过了他们生命中不一般的二十年，曾经辉煌的魔岩三杰创造了在香港红堪演出的奇迹，而如今他们每个人都在面对自己的问题，自闭的张楚努力走出封闭的世界。何勇面对自己的精神疾病，坚持吃药治疗。窦唯采取不一定的音乐方式继续自己的音乐生涯。是什么改变了中国摇滚乐的行进的轨迹？是毒品，女人，还是台湾唱片公司的介入，或者说是中国摇滚乐准备不足？还是如崔健歌中所唱到的：这世界变化快？而现实是他们所面对的环境已经改变，他们的努力能否适应当下的环境？他们对现实世界的看法是否还具有摇滚乐的精神？他们会关心就在他们身边的小畅吗？面对镜头，每个人在讲述自己的经历与困惑。

曾经的思想解放，曾经以为的打开的大门，是否带来了新的生活，没有了政治压力的空间是否让人们真正获得心灵的解放，还是让人们更加迷失，自由的代价换来的是幸福还是深渊，随着时间的流逝，越发显现。曾经摇滚的英雄，曾经反叛的斗士，曾经天安门广场自由民主女神下的歌者，他们如何面对过往与未来？

2008年的春节来临了，小畅可能还是要回山东老家了，张楚也即将回到西安陪伴父母过年，小珂的父母那一天是否会为死去的儿子在饭桌上留一副碗筷？而其他人又会怎么度过他们的春节？

在时代的晚上，一切都将展开。

Chinese rock and roll started at the same time of the opening in 1980s.

The concert “Commemoration of the Year of World Peace”, on May 9, 1986 at Beijing Workers’ Stadium is always mentioned when talking about the start of Chinese rock and roll. At his 26, Cui Jian, in a tattered outfit, jumped onto the stage with a shabby guitar on his back, and offered the audience “Nothing To My Name”. Few minutes later, the whole place went crazy. People always say the Chinese rock and roll music was born at that night.

At the same time, the long closed country started to open itself up. People started to receive and be influenced by western art, music, and ideology, and they felt spiritually released. The rapid absorption of western ideology was represented in different ways; the art movement “’85 New Wave”, the film “Red Sorghum” directed by Zhang Yimou, modern Chinese poetry were all obvious examples. A flourishing scene of culture and art was seen. And inevitably, musicians were influenced by rock and roll from the west. People like Cui Jian became the first generation of rock musicians, and their unbridled posture and attitude of critical realism were highly influential among young Chinese of the time.

Soon a larger group of rock and roll musicians appeared in Beijing, among them were the most famous representatives He Yong, Zhang Chu, Dou Wei, Tang Dynasty band, and Black Panthers band etc.. Independent underground music events were carried out despite of the pressure from the government; whereas the pressure even stimulated stronger creativities, which produced a large number of great works. It was a Utopian era: everyone persisted in music creation and performances, without caring about any economic profit.

As the “reforming and opening” proceeding in mainland China, Chinese rock and roll started gaining attention from abroad. It was Hong Kong and Taiwan record companies that first landed on the mainland. And the label Rock Record from Taiwan later became the most influential one.

Infected by Chinese musicians’ blooming creativities and their rock-and-roll spirit, these companies came to Beijing with sophisticated production experience and modern concept of music industry, to start helping and managing the Chinese rock and roll. But the modern marketing, advanced technologies, and consciousness of copyright, quickly broke the original music scene.

With the intervention of these companies, Chinese rock and roll soon get accepted by the mass and media, and soon achieved the “spring of new music”. The Rock Record artists (He Yong, Zhang Chu, Dou Wei, and Tang Dynasty) rocked at Hong Kong Coliseum in 1994 and made it a great stir in all Chinese regions, and also pushed the Chinese rock and roll music to its peak. People expected that a new era would begin.

However, as the economic openness speeding up, more pop music from the west, Hong Kong and Taiwan floated into mainland, and prevailed in younger generations. The rock and roll market quickly shrank around 1997, which made the oversea record companies, like Rock Record, quit the mainland market. And as the consumerization crumbled the shield of Chinese rock and roll, a cold winter greeted the “spring of new music”.

No one cared anymore to spend a minute thinking about protecting the artists and their creativities; people only focused on the profit brought by marketing, customers and price. Rock and roll musicians were abandoned by the market; they could hardly face the cruelty. Personal problems started to attack them, no exception to He Yong, Zhang Chu, Dou Wei; the creating of Chinese rock and roll came to a halt.

Chinese rock and roll disappeared from the culture scene under the cruel circumstance. Although some of younger generation kept attracted by rock and roll music and devoted themselves into it, no more valuable works could be found in the mainstream music market.

Since twenty years ago when the first sound of “Nothing To My Name” was made, Chinese rock and roll has undergone the cruelest reality that no other regions have ever experienced. Simultaneously, Chinese economy has risen up.

In the 80s, like many other young people, I was deeply attracted by rock and roll, and threw myself into it. With this choice which deviated from the mainstream life style, I started to live a wavy life. Supported by my idealistic fancies, I was fully indulged in producing and promoting Chinese rock and roll, with musicians like He Yong, Dou Wei, Zhang Chu and so on. We together made numerous underground concerts and together experienced the journey from brilliance (late 80s) to decline (mid 90s). It has always been a deep brand on me, although I chose to walk away when I concluded its “death”.

Luckily I’ve been carrying on another kind of art creating, but the friends and the years have always been there on my mind. Last year, He Yong and Dou Wei, who I did not contact for years, both appeared on the headlines. Dou Wei set fire on a car at a newspaper's editorial department, in this way to antagonize falsified news about him. He Yong was sent to mental hospital again for his paranoid schizophrenia.

At this point, a nameless long disappeared and forgotten person, ex guitar player of the band Dreaming, Xiao Ke appeared in my mind. There are two versions of stories about him. Some said he died. Some said he still lives somewhere in Beijing. His appearance in and disappearance from the rock and roll scene, have an indescribable relation with the track of Chinese rock and roll.

I decided to explore his life and find out the truth about his death. I believe it could help me to look back on my experience and the formation of my ideology, help me to rethink about the cause and consequence of Chinese rock and roll. I decided to use the camera to start a search, a search for myself, for the past rock-and-roll years, more importantly, for the twenty years of Chinese “reforming and opening”.

And when I started researching, I met the boy Chang at a rehearsal studio, who came from the countryside, gave up the land that his ancestors lived on for generations, and started his music “career” in Beijing. He immediately caught my sight and would take a part in this film.

The film would mainly contain stories of Xiao Ke and Chang, record of interviewees’ daily lives, and also interviews with former participants, record of live concerts, etc..

导演的话：
什么是自由，自由给我们的生命带来了什么？

顺着自由的方向行走，将走向哪里？

是什么改变了我们的青春，改变了我们的方向和处境？

是时间？是商品经济？还是周遭的环境？

我开始试图寻找答案，寻找记忆，寻找曾经逝去的人，寻找我们曾经的理想与希望。

摇滚乐是一把钥匙，是一段经历，是历史的改变，是我们曾经的激情与乌托邦。

在去年冬天，摇滚乐再次与我相遇，我沿着它指引到道路，开始探寻。

导演简介：
盛志民，男，1969年3月17日。自1993年起，参与孟京辉话剧、陈果、贾樟柯、张杨等人的电影。见证了中国独立电影的发展。
2002年　拍摄《心·心》导演、编剧；
2005年拍摄《浮生》导演、编剧；
2007年-2008年拍摄完成关于中国摇滚十年的纪录片《再见乌托邦》。
2009年与法国合作拍摄纪录片《Tigers and Pandas》，后期制作中。

Director
Sheng Zhimin

Sheng Zhimin was born in Beijing in 1969. He graduated from the Beijing Radio & Television University in 1992. Sheng began his career in 1997 as an assistant director for Zhang Yang’s Spicy Love Soup (1997), and line producer for Fruit Chan’s films including Public Toilet (2002), Durian, Durian (2000) and The Longest Summer (1998), and Jia Zhangke’s Platform (2000). He made his directorial debut in 2002 with the video feature Two Hearts, which was selected to participate in the Berlinale Forum in 2003. Bliss (2006), his first 35mm feature film, won the NETPAC Award at the 59th Locarno International Film Festival and the Asian New Talent Prize for Best Feature Film at the 11th Shanghai International Film Festival. Bliss was also selected for the 31st Toronto International Film Festival, the 31st Hong Kong International Film Festival and the 11th Pusan International Film Festival.
参与名单:: 跑堂

已有1人加入

分享到：

你的回应...

请先登录后回帖 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

[活动]12月27日天津影迷幼儿园《再见乌托邦》放映暨导演交流

你的回应...

> 发言

> 相关话题组：

天津影迷幼儿园

活动图集 . . . (更多)

上传更多活动图片 . . . . . .

[活动]12月27日天津影迷幼儿园《再见 乌托邦》放映暨导演交流

你的回应...

> 发言

> 相关话题组：天津影迷幼儿园

活动图集 . . . (更多)

上传更多活动图片 . . . . . .

[活动]12月27日天津影迷幼儿园《再见乌托邦》放映暨导演交流

> 相关话题组：

天津影迷幼儿园