My film is a 14 minutes documentary. It mainly tells about the work and life of fishermen in two different countries: UK and China. There are unanticipated hazards and unknown hardships. Certainly, there are also felicific touching things and beautiful sceneries. People there are hard working, earthy, hospitable and a little shy. Here are their most authentic records.
In fact, this research was a big challenge. At first, I thought documentary didn’t need specific story, and can be made by filming directly. After watching many different types of documentaries, I found the most touching documentary is meaningful with sincere and moving stories. Moreover, my current research is how a documentary can impress people.
I traveled to two different seaside cities of China three times for this work. I knew their lives by talking with them. In fact, the first fisherman I found was my uncle, but every going out to sea for more than half a month caused a great obstacle for shooting. I had to find other fishermen. The second city is Zhoushan. With an enthusiastic friend’s help, I found a fisherman who could take us out to sea. Together with my Chinese team, we finished shooting, and mainly recorded the fishing, net-weaving and fish market.
The city I chose in the UK is Whitby. The first time I went there, I found the enthusiastic fishermen to help me luckily. Through constant communication from then on, my team and I came to this beautiful seaside city again. We did a wonderful interview, recorded their going out to sea before dawn and the working scenes in the market when they came back, as well as the stunning sceneries.
I hope you can see the realest fishermen life experiences and feel their sincerity in this work. Here you can also see my growth.
我的电影类型是纪录片。片长14分钟。它主要讲述了英国和中国两个不同国家的渔民的工作和生活。这里有你不曾预料的危险，也有不为人知的艰辛，当然还有让人幸福的感动和美丽的风景。他们努力工作、朴实、热情还有一点点害羞，这里也是他们最真实的记录。
事实上，这个研究项目对我的挑战性是很大的。一开始，我觉得纪录片不需要特定的故事，只要到现场直接拍摄就可以成为纪录片。但在我观看了很多不同类型的纪录片之后，我发现能让我心动的都是有意义的纪录片，它的故事真诚而又动人。而我此次的研究就是纪录片如何打动人。
为了这个作品我前往中国3次，去了两个不同的海边城市。我通过与他们多次交谈的方式去了解他们的生活。其实我找的第一个渔民是我的叔叔，可是因为他一次出海就需要半个月以上的时间，这对我的拍摄造成了很大的阻碍。然而我不得不去寻找其他的渔民。第二次去的城市是舟山，我在一个热心朋友的帮助下找到了可以带我们出海渔民。我在我中国的团队帮助下一起完成了中国的拍摄，主要记录了他们出海捕鱼，织网和鱼市场。
在英国我选择的城市是Whitby。在我第一次去这哪里的时候，就很幸运地找到了热心的渔民帮助我。之后通过不断地交流，我带着我的团队又来到了这个美丽的海边城市。我们做了一段精彩的采访；记录了他们凌晨出海和回来后在鱼市场工作的场景；还有那里迷人的风景。
在这个作品里我希望你们可以看到渔民最真实的生活经历，然后去感受他们的真诚。而在这里你们同样可以看到我在成长。
2013年8月25日星期日
2013年8月22日星期四
Final cut
I started the film selection work once getting this roll of film back. I filmed 8 hours for England and 7 hours for China.
The video-editing could not follow the original designs because of the unexpected frames and the limitation of the time, etc. occurred in filming. Selecting films and numbering them have to be done at the very start. Since there are too much film contents, I spent three days on editing the data. After that, I spent another few days on watching the film, and then re-planning the movie clip. The entire film length is 14 minutes when doing the editing initially. The first frame of the film is that a family member of a Chinese fisherman is netting, then the film skips to the frame that British fishermen went to sea at 2:00 in the morning until their ships disappeared in the middle of the sea. Then the film showed the empty port from dark to dawn and following is the frame that Chinese fishermen were fishing on the sea. After the fishing frame is a scene of the British fishermen coming back from the sea, then they carried these seafood to the market, weighed these seafood and recorded by the businessman. Then the scene of selling seafood in Chinese fish market appeared, and a fisherman killing a fish is the last scene of the Chinese fishermen. Then followed by the communication scenes between British fishermen and us interspersed with the scenery of this city.
Afterwards, my mentor and my classmates in my group watched this short film and offered a lot of suggestions and their opinions. There are mainly：
1. Postpone the scene of weaving fishing nets at beginning of the film to the scene of Chinese fish market in the following scenario.
2. Edit out the repetitive scenes in the film.
3. Divide the background music into two kinds, one for Chinese scenes and the other for British scenes.
4. Put letters in the film in order to let the audience understand which country the scene is.
5. Add the scenes of interviewing with fishermen.
Therefore, the film includes the following scenes ultimately:
1. The scene of British fishermen going out to sea
2. The scene of interviewing with British fishermen
3. The scene of fishing on the sea of Chinese fishermen
4. The scene of British fishermen returning to base, handling the seafood and trading with the businessmen.
5. The scene of interviewing with British fishermen
6. The scene of a variety of seafood in Chinese fish market, killing the fish in the market and weaving fishnets.
7. The scene of British fisherman’s interaction with us and the scenes of some cities.
片子拿回来之后，我就开始了选片的工作。英国一共拍摄了8个小时。中国一共拍摄了7个小时。
The video-editing could not follow the original designs because of the unexpected frames and the limitation of the time, etc. occurred in filming. Selecting films and numbering them have to be done at the very start. Since there are too much film contents, I spent three days on editing the data. After that, I spent another few days on watching the film, and then re-planning the movie clip. The entire film length is 14 minutes when doing the editing initially. The first frame of the film is that a family member of a Chinese fisherman is netting, then the film skips to the frame that British fishermen went to sea at 2:00 in the morning until their ships disappeared in the middle of the sea. Then the film showed the empty port from dark to dawn and following is the frame that Chinese fishermen were fishing on the sea. After the fishing frame is a scene of the British fishermen coming back from the sea, then they carried these seafood to the market, weighed these seafood and recorded by the businessman. Then the scene of selling seafood in Chinese fish market appeared, and a fisherman killing a fish is the last scene of the Chinese fishermen. Then followed by the communication scenes between British fishermen and us interspersed with the scenery of this city.
Afterwards, my mentor and my classmates in my group watched this short film and offered a lot of suggestions and their opinions. There are mainly：
1. Postpone the scene of weaving fishing nets at beginning of the film to the scene of Chinese fish market in the following scenario.
2. Edit out the repetitive scenes in the film.
3. Divide the background music into two kinds, one for Chinese scenes and the other for British scenes.
4. Put letters in the film in order to let the audience understand which country the scene is.
5. Add the scenes of interviewing with fishermen.
Therefore, the film includes the following scenes ultimately:
1. The scene of British fishermen going out to sea
2. The scene of interviewing with British fishermen
3. The scene of fishing on the sea of Chinese fishermen
4. The scene of British fishermen returning to base, handling the seafood and trading with the businessmen.
5. The scene of interviewing with British fishermen
6. The scene of a variety of seafood in Chinese fish market, killing the fish in the market and weaving fishnets.
7. The scene of British fisherman’s interaction with us and the scenes of some cities.
片子拿回来之后，我就开始了选片的工作。英国一共拍摄了8个小时。中国一共拍摄了7个小时。
因为在拍摄时会有一些意想不到的画面和因为时间等原因无法完成的。所以在剪辑时无法像原先设计的方案去做。一开始当然是选片和进行编号，因为拍摄的内容很多，我用了三天的时间才编辑完所有的资料。之后又用了几天时间看片，然后重新规划影片的剪辑。最初剪辑时整个片子为14分钟。一开始以中国渔民的家人织网为第一画面，然后跳转到英国渔民在早上2点时出发的画面直至渔民出海，船只消失在海中央，再转到港口的空景，从天黑到天明再转接到中国渔民在海上捕鱼的场景。结束捕鱼场景之后转到英国渔民从海上回来的场景，再接着他们在市场搬运海鲜的场景然后是在市场内称重量由专门负责记录的商人，结束后是中国鱼市场卖海鲜的画面，以一个商人杀鱼的镜头为中国渔民的最后镜头。再接着是英国渔民和我们交流的画面中间穿插着英国这个城市景色。
之后通过我的导师和我们组的同学观看，他们给了我很多建议和想法。主要有：
1.将开始中国织网的镜头放到后面与中国鱼市场一起
1.将开始中国织网的镜头放到后面与中国鱼市场一起
2.片中有许多重复的场景剪辑掉
3.音乐上分为两种，一表示中国，二表示英国
4.加上字母，让观众了解到画面讲述的是哪个国家的
5.添加与渔民访谈的场景
所以片子最终为
1.
英国渔民出海的场景
2.
英国渔民的访谈
3.
中国渔民海上捕鱼的场景
4.
英国渔民返航搬运海鲜和商人交易的场景
5.
英国渔民的访谈
6.
中国鱼市场各种海鲜、市场杀鱼还有家中织网的场景
7.
英国渔民和我们互动的场景和一些城市的场景
2013年8月12日星期一
Music
As one of the performance elements, music makes a great contribution to deepening film’s main idea and the integrity and orderliness of the film narrative structure. Documentary with music inserted in good time can reveal the profound meaning more delicately and vividly and increase brilliance to the documentary itself.
The lyric feature of music acting on the documentary can give full play to the emotional appeal of various artistic elements such as color, music, sound and subtitles, and thus strengthen the thoughts and feelings of the documentary. Music can go deep into people’s inner world, and the emotions and thoughts of the character as well as the volatility of events can be expressed most vividly. Even the scenes of general natural scenery will be cast a charming atmosphere, resulting in a huge intoxicating artistic charm.
I selected two pieces of music in total for this film. My film contained scenes from Britain and China two countries, and their scenes are interspersed with each other. So I selected two kinds of music to represent and distinguish their scenes respectively on a national basis. British are more cheerful and enthusiastic, and there are many interesting shots in the film. So I chose lively and dynamic music for them, and people can feel their happy atmosphere. Chinese people are relatively shy, and the most scenes are hard-working scenario in the film. So the music I chose is full of Chinese classical music elements so that the audience can feel that they have melt into the music.
I chose the naughty lively music as the ending music of the film, for our interaction with the fishermen was very warm and funny at the end of the film. I hope the music can also infect the audience.
音乐作为纪录片的表现元素之一，对纪录片主题的深化以及纪录片叙事结构的完整性、有序性起了很大的作用。适时融入音乐的纪录片能更加细腻生动地揭示纪录片的深刻内涵，为纪录片本身增加光彩。
音乐的抒情特性，作用在纪录片中可以充分发挥色彩、音乐、音响、字幕等各种艺术元素的情绪感染力，进而强化纪录片的思想情感。音乐能够深入到人物的内心世界，将角色的感情、思绪以及事件发展的波动表达得淋漓尽致。即使表现一般自然景物的画面也会被它罩上一层迷人的气氛，产生出巨大的令人陶醉的艺术魅力。
在我这次的片中，我一共选择了两个音乐在片中。我拍摄的内容为英国和中国两个国家，他们的场景会相互穿插，所以我以国家为单位，分别使用两种音乐来代表和区分他们的场景。英国人较为开朗热情，在片中有许多有趣的镜头，所以选择的音乐较为轻快有动感，让人能感受他们快乐气息。中国人较为害羞，在片中多为努力工作的镜头居多，所以选择的音乐富有一些中国古典音乐的气息，让人有能融入其中的感觉。
在片尾音乐的选择上，我选用了淘气活泼的音乐，因为在片子的最后有我们与渔民的互动，非常的温馨有趣。希望音乐同样可以感染到观众。
The lyric feature of music acting on the documentary can give full play to the emotional appeal of various artistic elements such as color, music, sound and subtitles, and thus strengthen the thoughts and feelings of the documentary. Music can go deep into people’s inner world, and the emotions and thoughts of the character as well as the volatility of events can be expressed most vividly. Even the scenes of general natural scenery will be cast a charming atmosphere, resulting in a huge intoxicating artistic charm.
I selected two pieces of music in total for this film. My film contained scenes from Britain and China two countries, and their scenes are interspersed with each other. So I selected two kinds of music to represent and distinguish their scenes respectively on a national basis. British are more cheerful and enthusiastic, and there are many interesting shots in the film. So I chose lively and dynamic music for them, and people can feel their happy atmosphere. Chinese people are relatively shy, and the most scenes are hard-working scenario in the film. So the music I chose is full of Chinese classical music elements so that the audience can feel that they have melt into the music.
I chose the naughty lively music as the ending music of the film, for our interaction with the fishermen was very warm and funny at the end of the film. I hope the music can also infect the audience.
音乐作为纪录片的表现元素之一，对纪录片主题的深化以及纪录片叙事结构的完整性、有序性起了很大的作用。适时融入音乐的纪录片能更加细腻生动地揭示纪录片的深刻内涵，为纪录片本身增加光彩。
音乐的抒情特性，作用在纪录片中可以充分发挥色彩、音乐、音响、字幕等各种艺术元素的情绪感染力，进而强化纪录片的思想情感。音乐能够深入到人物的内心世界，将角色的感情、思绪以及事件发展的波动表达得淋漓尽致。即使表现一般自然景物的画面也会被它罩上一层迷人的气氛，产生出巨大的令人陶醉的艺术魅力。
在我这次的片中，我一共选择了两个音乐在片中。我拍摄的内容为英国和中国两个国家，他们的场景会相互穿插，所以我以国家为单位，分别使用两种音乐来代表和区分他们的场景。英国人较为开朗热情，在片中有许多有趣的镜头，所以选择的音乐较为轻快有动感，让人能感受他们快乐气息。中国人较为害羞，在片中多为努力工作的镜头居多，所以选择的音乐富有一些中国古典音乐的气息，让人有能融入其中的感觉。
在片尾音乐的选择上，我选用了淘气活泼的音乐，因为在片子的最后有我们与渔民的互动，非常的温馨有趣。希望音乐同样可以感染到观众。
2013年8月2日星期五
China shoot
8月5号：出海拍摄
1.出海：一机位拍摄外场景，沿海场景，灯塔。船的左右侧和前后方均需拍摄一些还有从外往内拍摄渔民开船（当时天色较黑，请拍摄者尽力取景）
当天色变亮一些再拍摄一些外景（需要随时间变幻的场景）如果有朝阳请拍摄下来
二机位跟随渔民拍摄他的中景、近景和特写。多拍摄一些手部和脸部特写，同时中景和近景也很重要
2.捕鱼：一机位主要拍摄渔民捕鱼的全景和中景
二机位主要拍摄渔民的特写，内容需拍摄者根据当时情况而定
（也许有多次捕鱼过程，视拍摄者身体情况而定，最好全纪录捕鱼的场景）
储存鱼的过程和地方都拍摄一下
3.休息时间：拍摄一下渔民空闲时所做的事情
4.中途拍摄者如有不适症状请相互拍摄一下，如有渔民照顾也拍摄下来
5.返航的场景也要一些空景。
渔民的船（船的线、铁锚等）、船只停靠的地点、舟山海湾的场景、渔船上的中国国旗、灯塔等（能体现舟山当地特色的场景，标志性的场景都需要拍摄，可以以摇镜头为主要拍摄手法）
1.出海：一机位拍摄外场景，沿海场景，灯塔。船的左右侧和前后方均需拍摄一些还有从外往内拍摄渔民开船（当时天色较黑，请拍摄者尽力取景）
当天色变亮一些再拍摄一些外景（需要随时间变幻的场景）如果有朝阳请拍摄下来
二机位跟随渔民拍摄他的中景、近景和特写。多拍摄一些手部和脸部特写，同时中景和近景也很重要
2.捕鱼：一机位主要拍摄渔民捕鱼的全景和中景
二机位主要拍摄渔民的特写，内容需拍摄者根据当时情况而定
（也许有多次捕鱼过程，视拍摄者身体情况而定，最好全纪录捕鱼的场景）
储存鱼的过程和地方都拍摄一下
3.休息时间：拍摄一下渔民空闲时所做的事情
4.中途拍摄者如有不适症状请相互拍摄一下，如有渔民照顾也拍摄下来
5.返航的场景也要一些空景。
渔民的船（船的线、铁锚等）、船只停靠的地点、舟山海湾的场景、渔船上的中国国旗、灯塔等（能体现舟山当地特色的场景，标志性的场景都需要拍摄，可以以摇镜头为主要拍摄手法）
空景
渔民的船（船的线、铁锚等）、船只停靠的地点、舟山海湾的场景、渔船上的中国国旗、灯塔等（能体现舟山当地特色的场景，标志性的场景都需要拍摄，可以一摇镜头为主要拍摄手法）
外加场景：
1.中国鱼市场内的各种类型的鱼
2.杀鱼的过程
3.渔民家中织网的过程
注意：1需要以特写为景别拍摄。2、3都需特写、近景、中景、远景，4个景别的拍摄
外加场景：
1.中国鱼市场内的各种类型的鱼
2.杀鱼的过程
3.渔民家中织网的过程
注意：1需要以特写为景别拍摄。2、3都需特写、近景、中景、远景，4个景别的拍摄
2013年7月29日星期一
UK shoot
7月26号：采访渔民
一机位架三脚架，拍摄渔民与访问者的近景或中景画面（以近景为主要拍摄景别）
二机位手持，拍摄渔民的特写
一机位需更换两至三次位置，分别为渔民与访问者正侧面、以渔民为目标的左45读角和右45度角
二机位与一机位处在交叉位置，只拍摄渔民的特写，如果渔民说起受伤等有动作时二机位需跟着渔民拍摄重要的动作。
注意：一机位和二机位不可以同一时间变换位置，访谈时必须有一个机位是保持清晰画面的。因录制声音的硬件不佳，需旁人安静。最好以船为背景拍摄。
7月27号：出海前和出海后拍摄
1.出海前的准备工作：一机位拍摄全景、远景或中景（视情况而定）、二机位拍摄渔民的特写，面部和手的动作为重点，也可拍摄一些近景作为素材
2.返航：一机位在港口处，等待渔船回来，从远景一直到近景。然后赶到鱼市场与二机位汇合。二机位在船的停靠点-鱼市场，等待渔船回来，拍摄回来的工作。
3.靠岸：一机位和二机位需相互调节拍摄渔民和工具的中景、近景和特写
4.上岸：一机位、二机位分别从左右两侧拍摄渔民卸货和运货的场景，一机位以拍摄远景为主，二机位以特写为主。
5.运货：拍摄他们运货与交易的场景。
空景：
从凌晨时拍摄一直到天亮，天黑时拍摄港口的场景直到天色变得亮起来。然后去山顶拍摄当地有名的教堂和整个城市与海的场景。
2013年7月24日星期三
About Chinese fishermen question
When did you start to this work?
Flag
Why on your boat have the flag?
Do you cross paths with other countries fishermen’s or coast guard boats when you are at sea?
If you run into them, do you say hello to them? How do you communicate with them? Do you use the boat’s light to communicate?
Which country you like it (or which country you don't like) Why?
Lighthouse
Is it very important for you? How Important?
Do you know any history about lighthouses?
If there weren’t lighthouses what things could happen?
Have you ever had an issue with a lighthouse? How did u solve it?
Mood
If a normal person goes out to sea, we’ll feel excited, but you often go to sea, how do you about venturing out to sea?
How does life at sea compare to life on land?
Seasickness is very common for people. How about your first time, did you experience seasickness?
How did you overcome this problem? (How does one cope with seasickness?)
I know you are go to work very early and working long time on the boat, are you got some rest on the boat, what do you do during your break?
Be wounded
Can working on the boat be dangerous?
Can you describe/tell some common dangers while on the fishing boat?
How long time you are on the boat, when you go to sea?
Why you need so long time stay on the boat?
Do you want every day to back home?
Fish
Which kinds of fish you have caught?
Do you catch lobsters and crabs?(yes: do you like it, why?)
How do you store fish that you have caught?
When you are back on land, how do u distribute your fish? Do you sell them yourself or at markets?
Do you sell your fish to other countries? Like China?
Government
Do you have some rest period? Like in some periods, the fish is not good.
How about you perspective?
2013年7月22日星期一
About UK fishermen's question
When did you start to this work?
Flag
Why on your boat have the flag?
Do you cross paths with other countries fishermen’s or coast guard boats when you are at sea?
If you run into them, do you say hello to them? How do you communicate with them? Do you use the boat’s light to communicate?
Which country you like it (or which country you don't like) Why?
Lighthouse
Is it very important for you? How Important?
Do you know any history about lighthouses?
If there weren’t lighthouses what things could happen?
Have you ever had an issue with a lighthouse? How did you solve it?
Mood
If a normal person goes out to sea, we’ll feel excited, but you often go to sea, how do you about venturing out to sea?
How does life at sea compare to life on land?
Seasickness is very common for people. How about your first time, did you experience seasickness?
How did you overcome this problem? (How does one cope with seasickness?)
I know u r go to work very early and working long time on the boat, are you got some rest on the boat, what do you do during your break?
Be wounded
Can working on the boat be dangerous?
Can you describe/tell some common dangers while on the fishing boat?
In China, it’s common for many fishermen to go and live at sea for half a month; do British fishermen do the same?
In China, it’s common for many fishermen to go and live at sea for half a month; do British fishermen do the same?
What do you feel about being at sea for half a month? Would you like to do this?
Fish
Which kinds of fish you have caught?
Do you catch jellyfish?（yes: how about it?）
How do you store fish that you have caught?
Do you catch jellyfish?（yes: how about it?）
How do you store fish that you have caught?
When you are back on land, how do u distribute your fish? Do you sell them yourself or at markets?
Do you sell your fish to other countries? Like China?
Government
In China, it is forbidden to fish from May 16th to August 1st as a way to maintain marine life. Does England also impose a restricted time period of no fishing?
Are there any restrictions that the government of England imposes?
How about you perspective?
How about you perspective?
2013年7月20日星期六
性女传奇幕后纪录片 Sex: The Annabel Chong Story 2 (1999)
Several people have commented on the insight this film gives into the porn industry. That may be true, but it's not what this film is about. The events which unfold over 90 minutes in "Sex: The Annabel Chong Story" are more about one girls trip through life and the choices she made along the way. Many of the reviews have been very judgmental and tend to present Grace as disturbed and in need if therapy. This may be true on a certain level (for example the scene of her self-mutilate "cutting" removes any doubt that self-destruction is in the forefront of her personality) but there is much more to this young woman than that. She has substance. She's intelligent. She has a drive to succeed in life and achieve approval from her peers. Many of her personality traits are in paradox to one another...But more to the question; "Is this a good film?" You're damn right it is. A very good documentary the places a vast array of players, institutions and mechanisms into orbit around Grace and unabashedly reveals her ventures into and out of each circumstance from seeking acceptance from family and friends to navigating through the denizens of the porn industry.
An interesting side note: In the scenes where Grace is visiting the set of porn-starlet Jasmin St. Clairs attempt at "shattering her record" of 251 men in 10 hours, Grace appears to be out of her element and somehow trapped in a place she'd rather not be. In comparison to the people around her, she almost seems innocent and out of place. The whole feel of this shoot (while technically the same style) is directly the opposite of her experience. Grace leaves the set feeling dejected and lost. Her naiveté is glaring in this moment. Don't know if anyone else picked up on this, but I did.
In the end, I like Grace. After watching her go through so much self-inflicted agony with such an air of bravado (real or imagined) I can't help myself. She's all heart. It's a shame that her triumphs (participating in the Cambridge Debate, attending USC, moving on to a grad degree) are overshadowed by the darker elements of the film. And lastly, many Thanks to Grace for having the guts to be honest in presenting the story of her life.
2013年7月15日星期一
Two shooting plan
Way one:
• Britain
1. National flag
2. Whitby’s morning
3. Bridge
4. The lighthouse when go to the sea
5. Fishing: a. cast net, b. catch, c. lay aside
6. Free time (talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. Last time, the interview
• China
1. Make net
2. Bring the net go to boat and the national flag
3. The anchor was raised and the ship pulled out.
4. Wheelhouse（old）
5. Fishing: a. cast net, b. catch, c. lay aside
6. Free time (talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. The lighthouse when come back
Way two:
• Britain
1. National flag
2. Whitby’s morning
3. Bridge
4. Seafood market
5. Last time, the interview
The main: 4 and 5
• China
1. Make net
2. Bring the net go to boat and the national flag
3. The anchor was raised and the ship pulled out.
4. Wheelhouse（old）
5. Fishing: a. cast net, b. catch, c. lay aside
6. Free time(talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. The lighthouse when go and back
The main: 5 to 9
• Britain
1. National flag
2. Whitby’s morning
3. Bridge
4. The lighthouse when go to the sea
5. Fishing: a. cast net, b. catch, c. lay aside
6. Free time (talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. Last time, the interview
• China
1. Make net
2. Bring the net go to boat and the national flag
3. The anchor was raised and the ship pulled out.
4. Wheelhouse（old）
5. Fishing: a. cast net, b. catch, c. lay aside
6. Free time (talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. The lighthouse when come back
Way two:
• Britain
1. National flag
2. Whitby’s morning
3. Bridge
4. Seafood market
5. Last time, the interview
The main: 4 and 5
• China
1. Make net
2. Bring the net go to boat and the national flag
3. The anchor was raised and the ship pulled out.
4. Wheelhouse（old）
5. Fishing: a. cast net, b. catch, c. lay aside
6. Free time(talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. The lighthouse when go and back
The main: 5 to 9
2013年7月11日星期四
中国 Chung Kuo - Cina (1972)
In 1972, during Mao Zedong's Cultural Revolution, Michelangelo Antonioni was invited by the People's Republic of China to direct a documentary about New China. Only permitted to visit certain parts of the country, the director traveled with his crew for eight weeks in Beijing, Nanjing, Suzhou, Shanghai, and Henan. The result was a three and a half hour long film, divided into three parts. Mao and his wife Jiang Qing disliked it so much that Michelangelo Antonioni was consequently charged with being anti-Chinese as well as counterrevolutionary. The movie was finally shown at Beijing's Cinema Institute 30 years later.
his documentary was taken in Chinese Cultural Revolution period, and is divided into three parts:
The first part contains some scenes in Beijing captured by the director, such as the famous Tiananmen Square, the Great Wall, the Forbidden City, Wangfujing, visible recess activities in primary schools arranged by the Chinese government, acupuncture production in hospital, factory workers’ family life and the status of the producers’ cooperatives, and so on.
In the second part, the director was arranged to Linxian, Henan province to visit the Hongqi Canal, collective farms and the ancient city of Suzhou and Nanjing, but he put large spaces on randomly observed Chinese expressions.
The third part is a brief observation of Shanghai by the director, from the streetscape to the birthplace of Chinese Communist Party, from new residential buildings to the Roll Lumbricus in colonial period, from teahouse to the large factory, from the Bund to the boatman on the Huangpu River. Relatively, the film reflected Shanghai people’s lives objectively.
In my eyes, this documentary is very quiet and the scenes move slowly. Instead of pleasing us and adapting to the illusions in our mind by cutting the lives, the film forced us to see life show itself slowly with its own rhythm.
Shooting conditions: Obviously, the route and the scene were designated and arranged in advance, and the freedom of the director is very limited. Under the fact of an overall false, a strong sense of reality was reflected from the film just by shooting techniques and some scenes by force and grabbing. We saw the gesture, facial expressions and manners of speaking of people in that era again. Antonioni did not meddle with the Chinese government by standing on the ideology. On the contrary, he knelt down and stared at the real life, making the real life penetrating by his film. Like Jia Zhangke, he knew how to explore the poetry of ordinary life. Those low, dark and even sneaking corners of life can become a poem because of staring, which is the Zen in hard life.
I think art and memory have the same process.
这部拍摄于中国文革时期的纪录片分为三个部分：
第一部分是导演在北京对一些场景的捕捉，有著名的天安门广场、长城、故宫、王府井，有中国政府安排的参加小学可见课间活动、医院的针灸生产、工厂的工人家庭生活、生产合作社的状况等。
第二部分是导演被安排去河南林县参观红旗渠、集体农庄、古城苏州和南京，但他却将大量的篇幅放在了随意观察的中国人的面孔上。
第三部分是导演对上海的短暂观察，从街景到中国共产党诞生地，从新建的居民楼到殖民地时期的滚地龙，从茶馆到大工厂，从外滩到黄浦江上的船户，相对客观地反映了当时上海民众的生活。
在我眼中这部纪录片的镜头很安静，移动缓慢，不是切割生活来讨好我们，来适应我们头脑里的假象，而是强迫我们去睁眼看生活，看它自己的节奏，自己慢慢的展现。
拍摄条件：很明显，路线是被指定的，场景是被安排好的，导演的自由度非常有限。只是在全盘虚假的算盘底下，仅仅靠拍摄手法和几个强拍抢拍的镜头，胶片中渗出一种强烈的真实感。我们重新看到那个时代的人们的动作，表情，说话方式。安东尼奥尼不是站在意识形态的高度指手画脚，他蹲下来，凝视，让生活自己从画面中渗透出来。和贾樟柯一样，他懂得发掘平凡生活的诗意。那些低下、灰暗、甚至委琐的人生角落，因着凝视，也能够成为诗，这是一种艰苦生活中的禅意。
我想艺术与记忆是同一个过程。
2013年7月8日星期一
Adaptation story
Once there was a mother pig who had three little pigs. She was so poor, however, that she could no longer take care of the young pigs. So she decided to send them away。
It is time for you to go out into the world now. You are old enough to live on your own. Remember that hard work never hurts a pig. But I warn you, if you are lazy and get fat, than you will be too slow to run away from you know who. The hungry old wolf! The three pigs were scared and shouted. So the three little pigs left their safe home and went out into the world. They each went a different way, and they each built themselves a new home.
The first little pig was very nice and happy, but he was also very lazy. He didn’t like hard work. He always looked for the easy way to do things. Knowing he had to build a house for himself, the first little pig went go the market to look for supplies. When he saw a man selling straw, he said to himself, how easy it would be to build a house out of straw!
How much is that straw, sir? I will sell it to you for two cents, little pig. I’ll take it. So the first little pig bought the straw, and he built his house. Well, that was easy. I didn’t have to work very hard, and now I have a new house. This is great! The first little pig went inside and relaxed in his new home。
Now, the second little pig was a little different from the first. Because he liked to have lots of time to play, he always looked for the fastest way to do things. The second little pig also went to the market in search of supplies for his new house. When he saw a man selling sticks, he said to himself。
I could really build a house quickly with those sticks. Sir, how much for those sticks? I will sell them to you for three cents. Great! I’ll buy them. So the second little pig bought the sticks and started to build his house。
Mom said that we would have to work so hard, but this is so easy. Look how quickly I built my house with these sticks. Now I will have plenty of time to play。
The third little pig was very different from his brothers. He was a very hard worker. He wasn’t worried about finding the easiest way or the fastest way. He wanted things done the right way. When he went to market to buy supplies for his house, he looked for something sturdy that would last。
Wow! You have some really good bricks here, sir. I bet they would make a strong house. These bricks will help you build the finest house money can buy. How much for all of them? I will sell them to you for five dollars. Oh, I don’t have enough money right now. Can you wait until tomorrow? Okay, I will wait until tomorrow, but not any longer。
The third little pig quickly left to find work so that he could earn enough money for the bricks. He worked very hard that day. When he was finished, he had the money he needed. Early the next morning, he took his money and bought the bricks, and began building his house. It took him a long time, but he knew the bricks would make his house strong and safe。
When his house was finally finished, the third pig called his two brothers over to see his new home. They came and admired his work. Your house looks great. Now you have to come and play with us. Yeah! Let’s go into the forest to play. You two go on ahead. I still have some work to do. Wow, I get tired just WATCHING him work。
Remember, mother pig warned us not to get fat and lazy. Oh, he is so silly, he loves to work, and he never plays. So the first little pig and the second little pig went into the forest to play while the third little pig stayed home and worked. What the pigs did not know was that in that same forest there was a scary, smart and very hungry old wolf。
Chapter 2
The wolf usually ate squirrels, chickens, chipmunks, and other small animals. But today he was hungry for something different. Today he wanted a tender, delicious pig. BACON! PORK CHOPS! HAM! That’s what I want for dinner。
Wait! What is that I smell? Could it be a tender, delicious pig? Just then, the scary, smart and very hungry wolf saw the two little pigs playing. He was a sneaky wolf and decided to try to join in their game. Hello, little pigs. I am a friendly wolf and would like to play with you。
I … I… I don’t think so. Yeah, our mother warned us about you. The two little pigs stopped what they were doing and quickly ran back to their homes. The wolf followed them and came to the first little pig’s house. Little pig, little pig, let me in please. Never! No! No! No! No! No! You will never get in here! Then I will huff, and I will puff, and I will BOLW your house down!!
So the wolf huffed, and he puffed, and he blew the house down. The first little pig was so afraid. He ran as fast as he could to the second little pig’s house and began banging on the door. Help me! Help me! The hungry old wolf is coming after me。
Come inside, brother pig. We will be safe in my house. Shortly after the first little pig was safely inside, they heard a knock on the door. Little pigs, little pigs, let me in. it’s the nice wolf. Never! No! No! No! No! We will never let you in. Then I will huff, and I will puff, and I will BLOW your house down!! So the wolf huffed, and he puffed, and he blew the house down. The two little pigs were really afraid now。
They ran as fast as they could to the third little pig’s house, so the wolf would not eat them. Little brother! Little brother! Help us! The wolf is trying to eat us. I thought this would happen. Come into my house. Hurry! No, little brother. We should run away. The hungry old wolf will blow this house down! He isn’t going to blow MY house down. It’s made of bricks。
The two little pigs went inside the third little pig’s house, and moments later, they heard a knock on the door. Little pigs, little pigs, let me come in. it’s the nice wolf. Never! No! No! No! No! We will never let you in! Then I will huff, and I will puff, and I will BLOW your house down. So the wolf huffed and puffed and huffed and puffed, but he just couldn’t blow the house down! The three pigs cheered, and the wolf went home without a delicious pig in his stomach. I must have those pigs to eat. I will have to think of a new plan. I am a smart wolf, and I will just go back to their house tomorrow and trick them。
Chapter 3
The next day, he went back to the third little pig’s house with a really big, friendly smile。
Little pigs, you are so smart. You are much smarter than me. I am sorry I tried to hurt you. Let’s be buddies. I know a really good field with lots of carrots. Do you want to go with me? Hmmm. That sounds nice. Where is the field, and when do you want to go? The field is very close. It’s on the side of farmer jack’s barn. I will come back tomorrow at six in the morning。
When the wolf left, the first little pig and the second little pig turned to their brother and said. Are you crazy? He is going to eat you! He doesn’t want to eat carrots, he wants to eat you! The wolf will have to find me first. Don’t worry. Just wait and see. That night, the wolf was thinking to himself, finally, tomorrow I will be able to eat a tender, delicious pig. He fell asleep dreaming of pork chops, bacon and ham。
It is time for you to go out into the world now. You are old enough to live on your own. Remember that hard work never hurts a pig. But I warn you, if you are lazy and get fat, than you will be too slow to run away from you know who. The hungry old wolf! The three pigs were scared and shouted. So the three little pigs left their safe home and went out into the world. They each went a different way, and they each built themselves a new home.
The first little pig was very nice and happy, but he was also very lazy. He didn’t like hard work. He always looked for the easy way to do things. Knowing he had to build a house for himself, the first little pig went go the market to look for supplies. When he saw a man selling straw, he said to himself, how easy it would be to build a house out of straw!
How much is that straw, sir? I will sell it to you for two cents, little pig. I’ll take it. So the first little pig bought the straw, and he built his house. Well, that was easy. I didn’t have to work very hard, and now I have a new house. This is great! The first little pig went inside and relaxed in his new home。
Now, the second little pig was a little different from the first. Because he liked to have lots of time to play, he always looked for the fastest way to do things. The second little pig also went to the market in search of supplies for his new house. When he saw a man selling sticks, he said to himself。
I could really build a house quickly with those sticks. Sir, how much for those sticks? I will sell them to you for three cents. Great! I’ll buy them. So the second little pig bought the sticks and started to build his house。
Mom said that we would have to work so hard, but this is so easy. Look how quickly I built my house with these sticks. Now I will have plenty of time to play。
The third little pig was very different from his brothers. He was a very hard worker. He wasn’t worried about finding the easiest way or the fastest way. He wanted things done the right way. When he went to market to buy supplies for his house, he looked for something sturdy that would last。
Wow! You have some really good bricks here, sir. I bet they would make a strong house. These bricks will help you build the finest house money can buy. How much for all of them? I will sell them to you for five dollars. Oh, I don’t have enough money right now. Can you wait until tomorrow? Okay, I will wait until tomorrow, but not any longer。
The third little pig quickly left to find work so that he could earn enough money for the bricks. He worked very hard that day. When he was finished, he had the money he needed. Early the next morning, he took his money and bought the bricks, and began building his house. It took him a long time, but he knew the bricks would make his house strong and safe。
When his house was finally finished, the third pig called his two brothers over to see his new home. They came and admired his work. Your house looks great. Now you have to come and play with us. Yeah! Let’s go into the forest to play. You two go on ahead. I still have some work to do. Wow, I get tired just WATCHING him work。
Remember, mother pig warned us not to get fat and lazy. Oh, he is so silly, he loves to work, and he never plays. So the first little pig and the second little pig went into the forest to play while the third little pig stayed home and worked. What the pigs did not know was that in that same forest there was a scary, smart and very hungry old wolf。
Chapter 2
The wolf usually ate squirrels, chickens, chipmunks, and other small animals. But today he was hungry for something different. Today he wanted a tender, delicious pig. BACON! PORK CHOPS! HAM! That’s what I want for dinner。
Wait! What is that I smell? Could it be a tender, delicious pig? Just then, the scary, smart and very hungry wolf saw the two little pigs playing. He was a sneaky wolf and decided to try to join in their game. Hello, little pigs. I am a friendly wolf and would like to play with you。
I … I… I don’t think so. Yeah, our mother warned us about you. The two little pigs stopped what they were doing and quickly ran back to their homes. The wolf followed them and came to the first little pig’s house. Little pig, little pig, let me in please. Never! No! No! No! No! No! You will never get in here! Then I will huff, and I will puff, and I will BOLW your house down!!
So the wolf huffed, and he puffed, and he blew the house down. The first little pig was so afraid. He ran as fast as he could to the second little pig’s house and began banging on the door. Help me! Help me! The hungry old wolf is coming after me。
Come inside, brother pig. We will be safe in my house. Shortly after the first little pig was safely inside, they heard a knock on the door. Little pigs, little pigs, let me in. it’s the nice wolf. Never! No! No! No! No! We will never let you in. Then I will huff, and I will puff, and I will BLOW your house down!! So the wolf huffed, and he puffed, and he blew the house down. The two little pigs were really afraid now。
They ran as fast as they could to the third little pig’s house, so the wolf would not eat them. Little brother! Little brother! Help us! The wolf is trying to eat us. I thought this would happen. Come into my house. Hurry! No, little brother. We should run away. The hungry old wolf will blow this house down! He isn’t going to blow MY house down. It’s made of bricks。
The two little pigs went inside the third little pig’s house, and moments later, they heard a knock on the door. Little pigs, little pigs, let me come in. it’s the nice wolf. Never! No! No! No! No! We will never let you in! Then I will huff, and I will puff, and I will BLOW your house down. So the wolf huffed and puffed and huffed and puffed, but he just couldn’t blow the house down! The three pigs cheered, and the wolf went home without a delicious pig in his stomach. I must have those pigs to eat. I will have to think of a new plan. I am a smart wolf, and I will just go back to their house tomorrow and trick them。
Chapter 3
The next day, he went back to the third little pig’s house with a really big, friendly smile。
Little pigs, you are so smart. You are much smarter than me. I am sorry I tried to hurt you. Let’s be buddies. I know a really good field with lots of carrots. Do you want to go with me? Hmmm. That sounds nice. Where is the field, and when do you want to go? The field is very close. It’s on the side of farmer jack’s barn. I will come back tomorrow at six in the morning。
When the wolf left, the first little pig and the second little pig turned to their brother and said. Are you crazy? He is going to eat you! He doesn’t want to eat carrots, he wants to eat you! The wolf will have to find me first. Don’t worry. Just wait and see. That night, the wolf was thinking to himself, finally, tomorrow I will be able to eat a tender, delicious pig. He fell asleep dreaming of pork chops, bacon and ham。
2013年7月7日星期日
归途列车 Last Train Home (2009)
Every spring, China's cities are plunged into chaos as 130 million migrant workers journey to their home villages for the New Year's holiday. This mass exodus is the world's largest human migration-an epic spectacle that reveals a country tragically caught between its rural past and industrial future. Working over several years in classic verité style Chinese-Canadian filmmaker Lixin Fan (with the producers of the award-winning hit documentary Up the Yangtze) travels with one couple who have embarked on this annual trek for almost two decades. Like so many of China's rural poor, Changhua and Sugin Zhang left behind their two infant children for grueling factory jobs. Their daughter Qin-now a restless and rebellious teenager-both bitterly resents their absence and longs for her own freedom away from school, much to the utter devastation of her parents. Emotionally engaging and starkly beautiful, Last Train Home's intimate observation of one fractured family sheds light on the human cost of China's ascendance as an economic superpower.
The conflicts in “Last Train Home” are important watching focus. Either the conflict between the migrant worker before going home and the policeman, these people who maintain order or the conflict between the main characters Mr. Zhang Changhuas and their daughter after they came back home at the Spring Festival has touched the hearts of many viewers. Such conflicts in the movie are the creative approaches: dramatization which is used in documentary, and people are more and more familiar with it.
The story technique has been used in documentary for a long time. It has been used in the documentary of “Nanook of the North” made in 1922. More and more documentary filmmakers recognized that story technique is the only way to realize documentary internationalization.
When recalling the creative process of the “Last Train Home”, Fan Lixin mentioned that we may think “Spring Festival travel” as a very easy way to film. Foreigners have never seen it, and it was certainly easy to get the money. I also have had this idea, but soon I found it would be naive. As a film, the story itself is more valuable than the subject matter. ① Considering the overseas audiences, the “Last Train Home” identified the its story strategy. In order to overcome this cognitive impairment, the director chooses the family problems as the entry point cleverly. Outwardly, the “Last Train Home” tells a family’s journey to home, but in fact, it talks about the common human emotions. This is a good point of penetration.
During filming process, apart from being a good observer and recorder, the photographer also need to handle the relationships with the subject properly, so that the subject can show their true side, which is an important work for the photographer. In process of filming, the photographer spent a lot of time in establishing a good relationship with the subject in order to let the subject maintain a natural ease status in front of the camera. Photographer’s efforts ensure the film’s authenticity as much as possible.
《归途列车》展现的矛盾冲突是它的一个很重要的看点，无论是片中打工者回家之前在火车站与警察和维持秩序的人发生冲突，还是主角张昌华夫妇春节回家后与女儿的冲突，都打动了很多观众的心。影片中的这种矛盾冲突，实际上是纪录片越来越为人们所熟悉的一个创作手法：故事化。
纪录片使用故事化手法由来已久。1922年拍摄的纪录片《北方的纳努克》，采用的就是现在已为我们所熟悉的故事化手法。越来越多的纪录片制作者认识到故事化手法是纪录片国际化的必经之路。
范立欣在回忆《归途列车》创作过程时提到，大家一定都想到“春运”很讨巧，外国人没见过，一定容易拿到钱。这样的想法我也有过，但很快我发现这样想很幼稚。作为一部影片，比题材更有价值的应该是故事。①正是面向海外观众的考虑，使《归途列车》确定了故事化的策略。为了克服这样的认知障碍，编导很巧妙地从家庭问题切入。《归途列车》表面上讲一个家庭归乡的旅途，其实讲的是人类共通的情感。这是一个很好的切入点。
在拍摄中，拍摄者除了做好观察者和记录者外，一个很重要的工作是处理好与拍摄对象的关系，让拍摄对象能够呈现他们真实的一面。在拍摄的过程中，拍摄者花了大量的时间与拍摄对象建立良好关系，其目的就是让拍摄对象在镜头前保持自然自如的状态。拍摄者的努力最大限度地保证了该片的真实性。
2013年7月1日星期一
Location and shoot
Most of the films are taken under controlled environment, such as the Sound Stage in a studio (Sound Stage); there must be some shootings that need to be taken outdoors, so they must be filmed outdoor.
When filming in the studio, the quality of the film would be greatly guaranteed. But when filming outside, we must consider many problems. For example, sound, when recording live sound there are a lot of noise and sudden sounds; light, natural light is very unstable and not easy to control; and the control of surrounding sceneries, vehicles, crowd; weather, sometimes the sudden changes in weather are difficult to forecast.
Several special shooting methods
1. Changing frame rates: when filming, the speed of the filmstrip is higher or lower than the normal rate of 24 frames per second to produce the screen effects of “slow-motion” and “fast action”. It is a common approach to shooting in present films.
2. Single frame filming: also known as sub-grid shooting. The documentary is filmed by “by-frame motor”, which drives the camera to shoot frame-by-frame to display the processes of blossom, cell division, and sunrise and so on.
3. Cinemicrography: shoot the images enlarged by optical microscope on the film by movie camera, which is widely used on the analysis and study of the microscopic world.
4. Aerial Shooting: film the scenes through shoot methods of films and televisions, etc. by aviation aircraft.
5. Underwater shooting: it is a shoot method in which camera and photographer dive underwater to film the movies.
6. Infrared shooting: in this method, infrared ray is used as light source and infrared film is used.
大部分的电影都是在可以控制的环境下拍摄，例如制片厂的摄影棚（Sound Stage）；也有必须在室外拍摄的部份，就必须出外景。
在摄影棚内拍摄，质量会得到很大的保证。但是拍摄外景时，我们就必须考虑很多问题。比如声音，在录制现场声音时会有很多噪音和突发声音；光线，自然光很不稳定所以很不好控制；周围景色，车辆、人流的控制；天气，有时天气的突然变化也是不可靠预测的。
几种特殊的摄影方法
1.变速摄影：在拍摄时使胶片的速度高于或低于正常每秒24格的速率。产生“慢动作”和“快动作”的画面效果，在现在的电影中是一种常用的摄影方法，
2.逐格摄影：也称为分格摄影。使用“逐格电动机”驱动摄影机一个画面一个画面地逐格拍摄。如要表现花开、细胞分裂、日出等。
3.显微摄影：将光学显微镜放大的影像用电影摄影机拍摄到胶片上。广泛用于微观世界的分析和研究。
4.航空摄影：用航空飞行器对景物进行电影、电视等的摄影方法。
5.水下摄影：将摄影机和人潜入水下进行拍摄的一种摄影法。
6.红外线摄影：用红外线为光源和用红外线胶片的摄影方法。
When filming in the studio, the quality of the film would be greatly guaranteed. But when filming outside, we must consider many problems. For example, sound, when recording live sound there are a lot of noise and sudden sounds; light, natural light is very unstable and not easy to control; and the control of surrounding sceneries, vehicles, crowd; weather, sometimes the sudden changes in weather are difficult to forecast.
Several special shooting methods
1. Changing frame rates: when filming, the speed of the filmstrip is higher or lower than the normal rate of 24 frames per second to produce the screen effects of “slow-motion” and “fast action”. It is a common approach to shooting in present films.
2. Single frame filming: also known as sub-grid shooting. The documentary is filmed by “by-frame motor”, which drives the camera to shoot frame-by-frame to display the processes of blossom, cell division, and sunrise and so on.
3. Cinemicrography: shoot the images enlarged by optical microscope on the film by movie camera, which is widely used on the analysis and study of the microscopic world.
4. Aerial Shooting: film the scenes through shoot methods of films and televisions, etc. by aviation aircraft.
5. Underwater shooting: it is a shoot method in which camera and photographer dive underwater to film the movies.
6. Infrared shooting: in this method, infrared ray is used as light source and infrared film is used.
大部分的电影都是在可以控制的环境下拍摄，例如制片厂的摄影棚（Sound Stage）；也有必须在室外拍摄的部份，就必须出外景。
在摄影棚内拍摄，质量会得到很大的保证。但是拍摄外景时，我们就必须考虑很多问题。比如声音，在录制现场声音时会有很多噪音和突发声音；光线，自然光很不稳定所以很不好控制；周围景色，车辆、人流的控制；天气，有时天气的突然变化也是不可靠预测的。
几种特殊的摄影方法
1.变速摄影：在拍摄时使胶片的速度高于或低于正常每秒24格的速率。产生“慢动作”和“快动作”的画面效果，在现在的电影中是一种常用的摄影方法，
2.逐格摄影：也称为分格摄影。使用“逐格电动机”驱动摄影机一个画面一个画面地逐格拍摄。如要表现花开、细胞分裂、日出等。
3.显微摄影：将光学显微镜放大的影像用电影摄影机拍摄到胶片上。广泛用于微观世界的分析和研究。
4.航空摄影：用航空飞行器对景物进行电影、电视等的摄影方法。
5.水下摄影：将摄影机和人潜入水下进行拍摄的一种摄影法。
6.红外线摄影：用红外线为光源和用红外线胶片的摄影方法。
2013年6月27日星期四
电影剪接的魔力 The Cutting Edge: The Magic of Movie Editing (2004)
The Cutting Edge: The Magic of Movie Editing is a 2004 documentary film directed by filmmaker Wendy Apple. The film is about the art of film editing. Clips are shown from many groundbreaking films with innovative editing styles.
Finally, in the film, I see Walter Murch, who is one of the greatest modern editors.
I first saw this name on a book “In the Blink of an Eye - A Perspective on Film Editing” which was wrote by him. This book was very thin, and very easy to read. After that I was aware of how great Walter was, as he was the film editor of “Cold Mountain”, “The English Patient”, “Apocalypse Now” and the trilogy of “The Godfather”.
Walter has the most scenes in the film. When doing the film-cutting, he has a lot of his own habits. For example, he likes standing, which is easy to follow the film’s rhythm; he likes choosing one or two pictures for each shot, and sticking them on the wall in order to get some clues when doing film cutting; he does not like to go to studio to keep himself an impartial person who only concerns with what is shown on the screen (he even suggests all of the directors to travel after finishing filming, so that the editor can get enough freedom in the stage of rough cut.); there is also a small detail, there are two small cardboard paper-men on each side of the screen where Walter watch the finished film. This is because we will face a big screen in the cinema, and these two paper-men can make Walter have the feeling of watching a film in the cinema. For this documentary, like some said, it does not involve editing skills, because technique is a hardware which you can learn from the book of final cut pro or Avid. Originality is the most important thing for editing, and it is also the re-creation of the film. As what is mentioned in the film: editing is manipulating.
终于在影片里看到Walter Murch本尊了。现代最伟大的editor之一。
最早见到这个名字是因为他写的一本书 In the Blink of an Eye -A Perspective on Film Editing。这本书很薄，而且很易读，之后才知道Walter有多牛逼，是《冷山》，《英国病人》，《现代启示录》，《教父》三部曲等名片的剪辑师。
Walter 在影片里面出场镜头算是最多的。他剪片有很多自己的习惯，比如喜欢站着，方便跟随影片的节奏；比如喜欢每一个shot选择一到两张照片，然后贴在墙上，为在剪片的时候提供线索；比如他不喜欢去片场，这样可以使自己作为一个做公证的人，只管种屏幕上所展现的 （他甚至建议所有导演在拍完片后选择出去旅游，给editor在rough cut 阶段充分的自由）；还有一个小细节，在Walter看成片的屏幕上，两边各有一个纸片的小人，这是因为电影院我们面对的是大屏幕，所以两个小人相比屏幕给Walter在电影院看片的感觉。如今看到这个纪录片，虽然就像有些人说的，没有涉及剪辑的技巧，因为技巧这个东西是硬件，你可以随便买本final cut pro 或者Avid自己去学，但是editing最重要的就是创意，是对影片的再创造。正如影片说的：editing is manipulating.
2013年6月24日星期一
Character
In order to tell stories, a documentary is required to provide a reasonable basis of characters at first. My initial idea was to record “fishermen” and state that the job of “fishermen”, if fact, is far away from our city life. Therefore, people are more interested in stories and the characters in the stories. Each country has its own different social state, and if you want the social state to be acceptable by the audience of other countries, choosing a good story that can communicate with each other emotionally might be the best way.
Before starting the documentary, the tentative idea and orientation about hero should be determined. In fact, the thought for choosing actors of a story film can be used to the casting of documentary as well. Only when a typical fisherman is found can stories about fishermen be told. Although they all belong to fishermen, they are different in many aspects, such as personality, family relation and even visual effect. Whether the right “characters” can be chosen is directly related to the quality of stories told by the documentary. After field research, my British heroes’ image for the story gradually becomes more and more clear: “They have to undertake this fisherman job since a very young age; they might come from a place far away from big cities, and therefore, they maintain some distance to urban life; sometimes three generations work together, that is, experienced grandfather, skilled father and the son who started learning fishing recently; finally, all of these will go on".
That is why I chose the fishermen of Adrian Noble family. When I first went for interview, I fortunately met them, who were collecting their things after fishing and preparing to go home. They were exactly three generations - grandfather, father and son. We made a nearly two-hour interview. They were very enthusiastic and willing to tell their stories to help me. This undoubtedly highlighted my documentary.
Chinese heroes’ image in stories: “They also usually come from a place far away from big cities, such as some small islands; they catch fish, which is different with British fishermen, and only in this way can provide a vivid vision to the audience; since they do not have particular requirements for fish species, I will focus on the Chinese fishermen’s fish-killing and family support”. Therefore, I chose Guangming Zou, a local fisherman from Dengbu island.
纪录片要讲故事，首先要有一个合理的人物基础。我最初的想法是想拍“渔民”，以及“渔民”这个职业离我们的城市生活其实很遥远。所以人们更感兴趣的是故事和故事里的人物。每个国家都有各自不同的社会状态，要让这种社会状态呈现在其他国家的观众面前并为他们所接受，选择好一个可以沟通彼此情感的故事可能是一个最好的方法。
在纪录片开拍之前要有对主人公的设想和定位，剧情片选演员的思路，但其实也可以用在纪录片的选角上。“要讲好‘渔民’的故事，首先要做的就是在渔民中找到一个典型。”同样是渔民，无论是性格上、家庭关系上甚至视觉效果上都有很多不同。有没有选对“角色”，直接关系到纪录片能不能讲好故事。经过实地调研，这样对于“故事”英国的主人公的形象逐渐鲜明起来：“他们必须从很小就开始渔民这项工作；他们应该来自一个远离大城市的地方，与城市生活有一段距离；有三代同时工作的，有老练的爷爷和成熟的爸爸还有刚开始学习捕鱼的儿子；最后，一直延续下去。”
所以我选择了Adrian Noble一家渔民。当我第一次去采访时，就很幸运的碰到了他们一家人正捕鱼回来在港口收拾东西，准备回家。他们当时正是三个人，爷爷、爸爸和儿子。与他们通过了将近2个小时的采访，他们非常的热心，很愿意讲述他们自己的故事来帮助我。这无疑让我的纪录片增加了很多色彩。
对于“故事”中国的主人公的形象：“他们基本也需要来自一个远离大城市的地方，比如一些小岛屿；捕捞的海鲜需要鱼英国渔民不同，这样才可以让观众的视觉有鲜艳感；对鱼他们的家庭没有特定的选择，我会把重点放在中国渔民杀鱼和家里人的支持。所以我选择了来自登步岛的当地渔民Guangming Zou。
Before starting the documentary, the tentative idea and orientation about hero should be determined. In fact, the thought for choosing actors of a story film can be used to the casting of documentary as well. Only when a typical fisherman is found can stories about fishermen be told. Although they all belong to fishermen, they are different in many aspects, such as personality, family relation and even visual effect. Whether the right “characters” can be chosen is directly related to the quality of stories told by the documentary. After field research, my British heroes’ image for the story gradually becomes more and more clear: “They have to undertake this fisherman job since a very young age; they might come from a place far away from big cities, and therefore, they maintain some distance to urban life; sometimes three generations work together, that is, experienced grandfather, skilled father and the son who started learning fishing recently; finally, all of these will go on".
That is why I chose the fishermen of Adrian Noble family. When I first went for interview, I fortunately met them, who were collecting their things after fishing and preparing to go home. They were exactly three generations - grandfather, father and son. We made a nearly two-hour interview. They were very enthusiastic and willing to tell their stories to help me. This undoubtedly highlighted my documentary.
Chinese heroes’ image in stories: “They also usually come from a place far away from big cities, such as some small islands; they catch fish, which is different with British fishermen, and only in this way can provide a vivid vision to the audience; since they do not have particular requirements for fish species, I will focus on the Chinese fishermen’s fish-killing and family support”. Therefore, I chose Guangming Zou, a local fisherman from Dengbu island.
纪录片要讲故事，首先要有一个合理的人物基础。我最初的想法是想拍“渔民”，以及“渔民”这个职业离我们的城市生活其实很遥远。所以人们更感兴趣的是故事和故事里的人物。每个国家都有各自不同的社会状态，要让这种社会状态呈现在其他国家的观众面前并为他们所接受，选择好一个可以沟通彼此情感的故事可能是一个最好的方法。
在纪录片开拍之前要有对主人公的设想和定位，剧情片选演员的思路，但其实也可以用在纪录片的选角上。“要讲好‘渔民’的故事，首先要做的就是在渔民中找到一个典型。”同样是渔民，无论是性格上、家庭关系上甚至视觉效果上都有很多不同。有没有选对“角色”，直接关系到纪录片能不能讲好故事。经过实地调研，这样对于“故事”英国的主人公的形象逐渐鲜明起来：“他们必须从很小就开始渔民这项工作；他们应该来自一个远离大城市的地方，与城市生活有一段距离；有三代同时工作的，有老练的爷爷和成熟的爸爸还有刚开始学习捕鱼的儿子；最后，一直延续下去。”
所以我选择了Adrian Noble一家渔民。当我第一次去采访时，就很幸运的碰到了他们一家人正捕鱼回来在港口收拾东西，准备回家。他们当时正是三个人，爷爷、爸爸和儿子。与他们通过了将近2个小时的采访，他们非常的热心，很愿意讲述他们自己的故事来帮助我。这无疑让我的纪录片增加了很多色彩。
对于“故事”中国的主人公的形象：“他们基本也需要来自一个远离大城市的地方，比如一些小岛屿；捕捞的海鲜需要鱼英国渔民不同，这样才可以让观众的视觉有鲜艳感；对鱼他们的家庭没有特定的选择，我会把重点放在中国渔民杀鱼和家里人的支持。所以我选择了来自登步岛的当地渔民Guangming Zou。
2013年6月19日星期三
时间的风景 TimeScapes (2012)
The documentary is just like a collection of shooting works, which are made into a movie. Beautiful, each frame is frozen as an extremely beautiful picture. When the blue sky turns into the universe and clouds into pink marshmallows, you can feel pleasant and free like your sweat, and you can do nothing but praise the beauty of nature.
Time is originally an abstract concept, but the director expresses it with specific things: the starry sky, sunrise, waters and so on, making the time touchable for the audience. Watching the stars shine in the sky, the sun rises from horizon line and water flows down from the mountains, we can conscientiously feel the elapse of time. At first look, it might be beautiful, but its real content is desolate. I did not feel so much but aesthetic sense at first watch. But it is at the second time when I watched it by fast-forward method, the sense that time takes you ahead was realized. When you want to die or want to live, this documentary should be chosen for appreciating. Besides, the soundtrack is really sad. You can see what has happened in different spaces at the same time, and also, how a space changes in different times. From the universe, the starry sky to specific human beings, all of them are “dancing” along with time.
As for the scenery about time, the director elongated the time axis of time lens, showing the audience minor changes that they usually pay no attention to. There are so many beautiful images, so I will choose to describe several ones that are easier to remember:
The young girl who dances with the music, the space detection station that moves in accordance with the changes of galaxies in space, they have combined human’s dance and universe’s dance together. With the music, epinephrine is secreted with
In the second scene, lens goes closely to the river and quickly moves in the valley along with the direction of the water flow. A series of dynamic beauty provides us a sense of urgency and curiosity.
Time Scapes - the name itself has expressed all the content.
这部纪录片就像将一本摄影作品，做成了一部电影。很美，每一帧定格下来都是一副极美的图片，看天空如何变成宇宙，看白云如何变成粉红色的棉花糖，自然真的是极美的，就像人的汗水真的是极畅快淋漓的，当平日里习以为常的蓝天在眼中变成宇宙。
时间本来是抽象的概念，导演用具象的事物：星空、日出、流水等让观者体会时间究竟是什么东西。当你仰望星空、看太阳升起、看水从山上流下时，才能切切体会时间的流逝。可能有一丝丝美，但是背后却是悲凉。第一遍看，没有太多感觉，顶多是唯美感。第二遍，跳着看时，时间带着你走的那种变化才真切体会出来。当你想死或者想活的时候，都可以看看这部纪录片。这配乐实在悲凉。同一时间下，不同空间发生了些什么；不同时间里，同一空间又有什么变化。从宇宙星空到具象中的人，是怎么跟随时间而“舞动”的。
时间的风景，将时间镜头的时间轴拉长，让观众看到平时不注意的轻微的变化，很美的画面很多，挑几幅比较容易记住的场景描述一下：
随着音乐扭动的美少女，和随着太空星系变化的太空侦测台的扭动，将人类和宇宙的舞动出奇的结合到了一起，随着音乐，肾上腺素一同分泌。
第二个场景是镜头贴着河面，随着河流一同在河谷中快速移动，一系列的动态美，给人紧迫，好奇的感觉。
时间本来是抽象的概念，导演用具象的事物：星空、日出、流水等让观者体会时间究竟是什么东西。当你仰望星空、看太阳升起、看水从山上流下时，才能切切体会时间的流逝。可能有一丝丝美，但是背后却是悲凉。第一遍看，没有太多感觉，顶多是唯美感。第二遍，跳着看时，时间带着你走的那种变化才真切体会出来。当你想死或者想活的时候，都可以看看这部纪录片。这配乐实在悲凉。同一时间下，不同空间发生了些什么；不同时间里，同一空间又有什么变化。从宇宙星空到具象中的人，是怎么跟随时间而“舞动”的。
时间的风景，将时间镜头的时间轴拉长，让观众看到平时不注意的轻微的变化，很美的画面很多，挑几幅比较容易记住的场景描述一下：
随着音乐扭动的美少女，和随着太空星系变化的太空侦测台的扭动，将人类和宇宙的舞动出奇的结合到了一起，随着音乐，肾上腺素一同分泌。
第二个场景是镜头贴着河面，随着河流一同在河谷中快速移动，一系列的动态美，给人紧迫，好奇的感觉。
时间的风景，名字本身就韵味了一切。
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