歌舞升平
| 片名： | 歌舞升平 |
|---|---|
| 其它片名： | 歌舞升平/All's Right with the World |
| 导演： | 张经纬 |
| 制片人： | 蒋显斌, 张经纬 |
| 摄影： | 李植熹 |
| 声音： | 五条秀美 |
| 剪辑： | 张经纬 |
| 片长： | 73分钟 |
| 年份： | 2007年 |
| 类型： | 纪录片 |
| 国别： | 中国 |
| 语言： | |
| 格式： |
影片概述 . . . . . .
在看《歌舞升平》裏五個家庭的訪問時，發覺他們口中所提及自己的悲劇命運是如此的曖昧地異曲同工，令人在觀看時會想那是誰的誰，那人跟那人有什麼關系。但其實唯一的關聯是他們都是領取綜援的家庭。他們貧窮的理由或許不一樣，個人的故事都往不同方向發展，但他們卻都在一個十分相似的生活狀態，是殊途同歸地對貧窮的習慣和適應。影片裡穿插著他們的過農曆新年片段，又與一般的香港人過年有著難分難解的相同和不同。
All's Right with the World describes a few families in Hongkong. Their tragic fates are different in approach but equal in effects, making the audience wander who's who and what's the relationship between them when viewing the film. As a matter of fact, the sole relation is that all five families receive comprehensive subsidies, while each story has its own development. They may have different reasons to be poor and different living conditions, but they share a similar state of existence, almost accustomed and adapted to poverty. Their ways of celebrating the Chinese New Year is described, which have many differences and similarities to the typical New
Year celebration.
All's Right with the World describes a few families in Hongkong. Their tragic fates are different in approach but equal in effects, making the audience wander who's who and what's the relationship between them when viewing the film. As a matter of fact, the sole relation is that all five families receive comprehensive subsidies, while each story has its own development. They may have different reasons to be poor and different living conditions, but they share a similar state of existence, almost accustomed and adapted to poverty. Their ways of celebrating the Chinese New Year is described, which have many differences and similarities to the typical New
Year celebration.
导演阐述 . . . . . .
我記得小的時候，從我家窗戶看出去，有一大片非法搭建的木屋和鐵皮屋，上學時都要經過這一塊。那裏的生活條件很糟，沒有廁所，夏天時更熱得像蒸籠。當時的貧窮是很形象化的。
時移勢易，以前窗前的這塊貧民房屋已經改為一座比我居住的房子還要高的大廈，和一間冷氣充足的百貨公司。
貧民不見了。香港再也「看」不見貧窮。
的確，香港整體的生活水平在這數十年中提高了不少，三十多層高的公共房屋、附有先進的居住設施配套已取代了木屋區。貧民的居住情況改善了。
但其實這只是表象。
雖然貧民是不會再衣衫襤褸，但生活在捉襟見肘、憂心忡忡的精神狀態下的情況，仍在這些漂漂亮亮的大廈和歌舞昇平的社會中天天發生。不單只是貧窮，而且這些人的背後往往都有一堆不幸的故事，是巧合嗎？還是社會失衡？還是這些人都有一些相同個性上的弱點呢？
天地不仁。
也許貧窮亦只是一個表面現象，更令我不安的是為什麼總有那麼多不幸的事發生在他們身上？而他們又為什麼好像永遠也走不出這個苦難的困局呢？
As a child, when I looked out of my apartment, I saw a squatters' village.
Every day on my way to school, I passed it and witnessed the horrible living
conditions: tiny spaces with no toilet and as hot as a steamer during
summer.
The poverty at that time can easily be seen.
Times change. The squatter's village was demolished, the same space has
become a residential complex with an air-conditioned department store, and
the buildings are much taller than the one I have been living in.
The poor have gone; no poverty is “seen” in Hong Kong any more.
Sure enough, the overall living standard in Hong Kong has drastically
improved over the decades since then. Public housing estates with
30-storey-buildings and advanced facilities have replaced squatters'
villages. The residential conditions of the poor have apparently improved.
Yet, this is just on the surface.
Perhaps it is true, because on the outside, the clothes of the poor are no
longer in tatters, yet on the inside -- the lives lived in these gorgeous
public housing estates, the real scenes behind this "All's Right with the
World" attitude, are overshadowed by a constant mental state of anxiety and
scarcity. Not only poverty but also series of mishaps seem to pursue them.
Is it just coincidence, or social inequality, or personal weakness? Why are
their fates so miserable? And why are they unable to escape from their
unfortunate destinies?
A Chinese sage said, "Heaven and Earth are ruthless."
時移勢易，以前窗前的這塊貧民房屋已經改為一座比我居住的房子還要高的大廈，和一間冷氣充足的百貨公司。
貧民不見了。香港再也「看」不見貧窮。
的確，香港整體的生活水平在這數十年中提高了不少，三十多層高的公共房屋、附有先進的居住設施配套已取代了木屋區。貧民的居住情況改善了。
但其實這只是表象。
雖然貧民是不會再衣衫襤褸，但生活在捉襟見肘、憂心忡忡的精神狀態下的情況，仍在這些漂漂亮亮的大廈和歌舞昇平的社會中天天發生。不單只是貧窮，而且這些人的背後往往都有一堆不幸的故事，是巧合嗎？還是社會失衡？還是這些人都有一些相同個性上的弱點呢？
天地不仁。
也許貧窮亦只是一個表面現象，更令我不安的是為什麼總有那麼多不幸的事發生在他們身上？而他們又為什麼好像永遠也走不出這個苦難的困局呢？
As a child, when I looked out of my apartment, I saw a squatters' village.
Every day on my way to school, I passed it and witnessed the horrible living
conditions: tiny spaces with no toilet and as hot as a steamer during
summer.
The poverty at that time can easily be seen.
Times change. The squatter's village was demolished, the same space has
become a residential complex with an air-conditioned department store, and
the buildings are much taller than the one I have been living in.
The poor have gone; no poverty is “seen” in Hong Kong any more.
Sure enough, the overall living standard in Hong Kong has drastically
improved over the decades since then. Public housing estates with
30-storey-buildings and advanced facilities have replaced squatters'
villages. The residential conditions of the poor have apparently improved.
Yet, this is just on the surface.
Perhaps it is true, because on the outside, the clothes of the poor are no
longer in tatters, yet on the inside -- the lives lived in these gorgeous
public housing estates, the real scenes behind this "All's Right with the
World" attitude, are overshadowed by a constant mental state of anxiety and
scarcity. Not only poverty but also series of mishaps seem to pursue them.
Is it just coincidence, or social inequality, or personal weakness? Why are
their fates so miserable? And why are they unable to escape from their
unfortunate destinies?
A Chinese sage said, "Heaven and Earth are ruthless."
获得奖项 . . . . . .
第32届香港国际电影节(2008), 国际竞赛单元
韩国首尔独立电影电视节(2008)，非竞赛单元
第1届加拿大Richmond新亚洲独立影像展（2007）
King Wai Cheung was born in Hong Kong. His ancestors are from Hubei Village of Shenzhen Guangdong. Cheung studied cello when he was young. He went to U.S. Brooklyn College and City University of New York to study music and other subjects. He graduated with a degree in film production and a minor in philosophy. He is the producer of 4 short fictional films and the supervisor of 1 short documentary film. Zhang’s works have won prizes at multiple international film shows. CARING IS HIP, his first feature documentary, will be completed soon. In addition, script God’s Apple, his first feature-length script, won Excellent Prize at the Mainland, Hong Kong & Taiwan Myth Script Creation Contest 2001, while his second script T.S.W was also awarded Best Story Prize at Hong Kong-Asia Film Financing Forum 2005. The film based on this script will begin production this summer with Xu Anhua as the director.
韩国首尔独立电影电视节(2008)，非竞赛单元
第1届加拿大Richmond新亚洲独立影像展（2007）
King Wai Cheung was born in Hong Kong. His ancestors are from Hubei Village of Shenzhen Guangdong. Cheung studied cello when he was young. He went to U.S. Brooklyn College and City University of New York to study music and other subjects. He graduated with a degree in film production and a minor in philosophy. He is the producer of 4 short fictional films and the supervisor of 1 short documentary film. Zhang’s works have won prizes at multiple international film shows. CARING IS HIP, his first feature documentary, will be completed soon. In addition, script God’s Apple, his first feature-length script, won Excellent Prize at the Mainland, Hong Kong & Taiwan Myth Script Creation Contest 2001, while his second script T.S.W was also awarded Best Story Prize at Hong Kong-Asia Film Financing Forum 2005. The film based on this script will begin production this summer with Xu Anhua as the director.
