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★★2009第十一屆台北電影節圓滿落幕!精彩畫面請到相簿瞧一瞧 !(點這邊)★★

 

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俊輝(台北電影獎短片動畫組遴選委員)

 

         台北電影獎的劇情短片的競賽,早已呈現百家爭鳴景像,競爭之激烈毫不輸給劇情長片,在過去十年已培養無數優秀導演,如戴立忍與鄭有傑等都是先以短片得獎,再轉而拍攝個人的第一部劇情長片。今年入圍的短片有十一部,我們可以把他們當作是台灣電影現況觀察中極為重要的一部份,也可以從中看到台灣電影未來的發展。

 

       在這些短片中,我們發現拍過長片的導演就佔了半數,如李啟源、吳米森、姜秀瓊等,這正顯示現今的短片創作絕非只是學生製作的競爭。但反觀學生的製作亦有超越過去的表現,這跟官方的補助與學校的政策有關,新聞局的短片輔導金之外,文建會敘事短片與公視人生劇展的學生短片製作案都讓學生有更多的經費去創作,同時台藝大的教學卓越計畫與世新大學的菲林龍等計畫都結合業界的專業人才與學生共同創作,大大提昇了學生製作的專業度,幾位後起之秀因此展現驚人的實力,如徐漢強以虛擬網路世界為場景的《匿名遊戲》,就是這樣合作下的成果如游智涵的百獄營造荒涼末世的詩意風格,格局比以往學生製作更大

 

       也因此我們會在這些短片中看到更多專業演員的表現,許多入圍過金馬獎或得過金鐘獎的演員都加入這些短片的演出,如陸奕靜、陳慕義與張榕容等;萬芳在《時光》中、吳朋奉與黃采儀在《家好月圓》中,以及莫愛芳在《麻糬》中都依然光彩奪目。更重要的是不管是老將,還是新秀,這些導演們都視短片為一種更開放更自由的創作形式,大家都在沒有商業為前提下尋找各種敘事的可能性,來自跨界背景的周東彥在《待消失的影片》中,持續以投影探索影像與敘事多重的關係;時光》、《秘密海》與《百獄》遊走在現實、記憶與夢境之中,引領觀眾不斷穿梭在虛實之間《匿名遊戲》與《宇宙歌女》形塑一個個奇幻的混血新品種。然而我們依然會被《家好月圓》、《麻糬》與《台北異想之煙》所深刻描繪的家庭關係的變形所震動。《台北異想之煙》的一鏡到底,令人沉潛回味電影最純粹的狀態。

 

 

New Freedoms: Narrative Shorts in the Taipei Award

 

The Taipei Award for narrative short films has been a major force cultivating short films in Taiwan. Since its inception, the award has established itself as a launching pad for young directors, including Cheng Yu-chieh, who has gone on to direct the Opening Film of this year’s TaipeiFF, Yang Yang, and Dai Li-ren.

 

Of the 11 short films in the 2009 Narrative Shorts program, we find both veteran directors like Wu Mi-sen, Lee Chi-yuarn and Chiang Hsiu-chiung and a new pool of student directors making their festival debuts.

 

Thanks in part to increased funding opportunities, student shorts have this year exceeded already growing expectations. Funding opportunities for student films are no longer limited to grants from the Government Information Office, the national agency for overseeing Taiwan’s national media. The Council of Cultural Affairs (another agency of the central government) and the Public Television System also offer funding opportunities. Meanwhile, programs at universities including Taiwan National University of the Arts and Shih Hsin University allow students to collaborate with film industry professionals, from cameramen and technicians to name actors. The overall effect has been a remarkable improvement in student films. Two of the chief beneficiaries in this section are John Hsu’s Intoxicant, a spoof on Internet chat rooms, and Yo Jhi-han’s Nirvana, a post-apocalyptic tale of loss and reconciliation.

 

Collaboration with actors is especially apparent in this year’s field of short film prize nominees. Several actors who have long become familiar faces from appearances in feature films in Taiwan’s oldest and largest film festival, the Golden Horse Film Festival, and the national television awards, the Golden Bell Awards, take leading roles. The Light in Time features Wan Fang, With or Without You features Wu Peng-feng and Huang Cai-yi, and Mochi featues Mo Ai-fang, all of whom deliver shining performances.

 

Subjects addressed range from family drama (With or Without You, Mochi and Smoke) to surreal explorations of memory and dreamspace (Nirvana, The Light in Time and Secret Sea) to fantastical genre hybrids (Intoxicant and Diva Diva). Also, make sure to watch out for one scene in Smoke. It will strike you with a kind of filmic purity that will help you remember what movies are all about.

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  • 更開放更自由的創作形式
  • 一個流失原創精神的電影節
    -紀錄片工會針對台北電影節百萬首獎的聲明

    台北電影節已經邁入第十一年,除了持續引進國際影片外,最重要的任務莫過於「台北電影獎」的舉辦。

    對國內影像創作者而言,「台北電影獎」的實質鼓勵不僅在於它的獎金,更重要的是它接受各種作品類型(劇情、紀錄、實驗、動畫),不論材質(電影底片、數位),也不計片長,只要是好作品,都有機會獲得肯定。這不但令「台北電影獎」成為國內所有影像工作者(而非只有影片工作者)的年度盛事,也是國際影壇完整認識台灣影像創作的捷徑。

    尤其是「台北電影獎」在各類最佳影片之上設置的不分類「百萬首獎」,過去一直堅守著包容、開放的精神,由評審團審視各屆作品水準,決定頒予的對象。而事實也證明,除了傳統電影獎鼓勵的劇情長片外,過去十年得到「百萬首獎」的作品,種類遍及紀錄片(「在山上下不來」、「再會吧!1999」、「無米樂」)、實驗片(「星塵15749001」)、動畫片(「女子」、「出口」)、甚至劇情短片(「兩個夏天」),既證明了台灣影像創作的多元與成果豐碩,也樹立了台北電影節(獎)獨立、自由又兼容並蓄的獨特面貌,進而影響了其他電影獎的走向。

    然而,從去年(2008)開始,「台北電影節」在沒有任何說明的情況下,就貿然取消了劇情長片以外其他類型作品爭取首獎的機會,也把過去公平爭技的特別獎,草率劃分為專屬於劇情長片的個人技術獎,致使這個競賽原初的創辦精神蕩然無存。無論作為影像工作者或是文化公民,我們都有充分理由擔心主其事者好大喜功的作風,不但嚴重侵蝕台北電影節(獎)最難得的特質──無分軒輊地肯定各領域的影像創作價值,也粗暴地剝奪了台灣影像工作者平等競爭的機會。

    事實上,以現今台灣影像創作環境而言,主流(劇情或動畫)長片早有金馬獎加持,學生影片與青壯創作者則有金穗獎鼓勵,但堅持獨立製作,或長期走非主流短片創作路線的影人,始終沒有獲得應有的鼓勵平台與相對的尊重。所以,台北電影節百萬首獎的開倒車舉動,絕非只是非劇情片工作者能分配多少獎金的問題,而凸顯出一個原本口碑不錯的影展,竟為了向主流靠攏,不惜扼殺自身特色的悲哀。

    這項草率的決定,去年就曾引發爭議與檢討之聲,但主辦單位卻無動於衷。紀錄片工會今年再度提出這項質疑,除了為本地影像創作者發聲以外,也擔憂這個原已走出不同於金馬影展的風格,而得以並駕齊驅的台北電影節活動,正在迅速喪失它的原創精神。長此以往,它流失的將不僅是早已明顯下滑的觀眾人數,還包括本地影像工作者對它的敬意,以及它在國際影壇上原被關注的活力所在。

    基於上述理由,我們誠心呼籲台北電影節自下屆起恢復原來的獎項設計,並推動相關改革,提升影展品質。若有無法變革的原因,請儘速公開透明的對外界提出足以服眾的說明,不要讓一個原本清新自由的影像節慶,逐步演變成一個封閉專斷的樣板活動,那將是所有影像工作者與文化公民所不樂見的遺憾結果。

    臺北市紀錄片從業人員職業工會

    目前連署人/單位
    紀錄片工會全體幹部:楊力州、黃信堯、蔡崇隆、賀照緹、吳耀東、聞天祥、李亞梅、柯金源、林育賢、林秀華、朱詩倩

    歷屆得獎者:陳俊志、周美玲、劉芸后、鄭文堂、李家驊、吳汰紝、陳龍男、顏蘭權、莊益增、陳博文、蘇文聖、黃淑梅、郭笑芸、王嬿妮、林靖傑、魏德聖、黃嘉俊、張榮吉

    第11屆(本屆)入圍者:陳志和、傅天余、賴俊羽、郭樂興、韓忠翰、王振宇

    歷屆評審:石昌杰、陳文玲

    影像工作者:朱賢哲、吳星螢、李中旺、李幼新、李定陸、李惠仁、林文卿、林木材、林其妏、林建享、林泰州、林融駿、翁英修、馬躍‧比吼、許富美、陳坤厚、陳玫臻、陳若 菲、陳素香、陳麗貴、曾文珍、黃庭輔、黃琇怡、黃禎、虞戡平、蔡靜茹、鄭小塔、賴孟秀、鴻鴻、簡莉潁、魏逸瑩、江依紋、黃惠偵

    團體:中華民國紀錄片發展協會、社團法人台灣女性影像學會、台灣南方影像學會



    A film festival that has lost its originality

    ─An announcement to the Taipei Film Festival from the Documentary Media Workers’ Union

    The Taipei Film Festival is embarking into its 11th year. The optimal goal has a broader perspective than just inviting foreign films, but most importantly the hosting of the “Taipei Award”.

    For local filmmakers, perks from “Taipei Award” are not limited to just the prizes. A variety of different genres (drama, documentary, experimental, animation), format (film, digital), and film lengths are welcomed. Every good film is entitled to a golden opportunity. Therefore, the “Taipei Award” became the annual grand event for all local filmmakers, and a channel for the international film industry to have a comprehensive look at the Taiwanese image creation.

    The “Grand Award,” the highest prize given of the “Taipei Award,” was designed for juries to decide on the prize winner solely based on the film quality without restricting the genre, format or length. The award goes to a wide selection of films other than the traditional narrative features. In the past decade, the winners are comprised of different categories such as documentaries《two guys go hunting》, 《Farewell 1999》, 《The Last Rice Farmer》), experimental films (《Stardust 15749001》), animations (《Women》, 《Exit》), and even drama shorts (《Summers》). It is a proof of diversification and fruitfulness of Taiwan image creations. Moreover, it establishes the uniqueness and liberty of the Taipei Film Festival, and influenced the directions of other film awards.

    However, starting last year (2008), without any notice, the Taipei Film Festival hastily canceled the entitlement of films other than feature films to compete for the “Grand Award”. Furthermore, it carelessly categorized the “Special Awards,” which dedicated to filmmakers’ personal achievements on films, now only dedicated to narrative feature filmmakers. These decisions have completely eradicated the originality of the competition. We, as the culture citizens and filmmakers, have the right to question the intention of the person in charge, if he/she is just fishing for fame and compliments and overlooking the real content and originality of the festival, which is a fair chance for all Taiwanese filmmakers to compete. The Taipei Film Festival no longer recognizes films from different genres other than narrative features.

    This rash decision had created controversy and criticism last year; however, the organizer remains silence. The Documentary Union decided to speak out this year, not only for local filmmakers, but also to express our concerns regarding the festival, which had difficulties in distinguishing itself from the Taipei Golden Horse Film Festival and losing its originality. If this persists, the festival will not only lose even more of the already declining audience, but also the respect from local filmmakers and the vigor that once attracted the international film industry.

    Based on the reasons mentioned above, we sincerely plead Taipei Film Festival to redeem the awards and promote reformation to improve the overall quality of the film festival. If there should be any reason that the reformation could not be completed, please immediately offer an explanation to the public. We will never allow the film festival gradually become an event no longer belongs to public. This is the sincere pledge from all filmmakers and culture citizens.
  • 親愛的紀錄片工會您好,其實台北電影節在公佈這些競賽規則當下,都有陸陸續續針對擴大辦理及增設獎項等細節進行更進一步的說明,有可能是貴單位遺漏了這些說明?如果貴單位仍有疑慮,是否能夠致電台北電影節辦公室,我們將當面為貴單位作種種疑慮的詳盡解說,感激貴單位此篇回應。

    tiff2009 於 2009/06/30 17:44 回覆

  • 更開放更自由的創作形式
  • 我是昨天貼回應的人,只是支持紀錄片工會的聲明而轉錄,而非本身參與該工會。今天下午三時前往新光影城觀影正好碰到游媽對著手機發飆,特此聲明前文是本人未經紀錄片工會同意即逕行轉載。至於聲明內容,工作人員您似乎沒看懂,工會聲明所反對的,正好是您說的"種種疑慮的詳盡解說",換句話說,反對的正是以種種原因排拒紀錄片獲得百萬首獎的這件事本身,台北電影獎自然有自身的規則及說法,只是人家並非是沒有看你們的規則及說法,而是看過之後決定站出來反對這規則及制定規則的原因。好比林生祥一再在金曲獎抗議新聞局剝奪了客家歌曲打敗國語歌曲最佳的舞台,你們的"詳盡解說"也同時剝奪了台灣紀錄片打敗劇情片最大的舞台。這裡並非要求台北電影節主辦團隊務必讓步,只是至少在別人發出不一樣的聲音時,請別試圖把別人的主張歸類在未讀通你們的"種種疑慮的詳盡解說"之下。
  • 親愛的更開放更自由的創作形式您好,誤會您的意思真是甚感抱歉,我將轉達您此篇留言給相關負責人員,謝謝您對台北電影節的支持與愛護^^....

    tiff2009 於 2009/07/01 17:20 回覆