歲月越南

台南藝術大學 「 第三世界影展系列 -- 越南篇 」, 下週即將展開 ....
來看看另一種世界的觀點的與發聲罷 ....







1953年 , 胡志明簽署成立越南電影/攝影國營企業之後
自戰爭年代的意識捍衛 , 樣板宣傳至戰後重建的生活參與 , 現實回歸
越南電影這 54 年來 , 其實自有一套發展線索與因應循環
只是難以為外人知悉與理解罷了

南藝自越南電影資料館、河內戲劇電影大學及越南民族學博物館等單位
邀來眾多代表性作品參與這次影展

這些影片皆為國內首次放映 , 其中包括 :
‧劇情片 9 部 ( 1962-2005 )
‧紀錄片 9 部 ( 1954-2006 )
‧學生創作短片 16 部 ( 2005-2006 )

此外為配合影展 , 南藝老師 井迎瑞、王墨林、關曉榮、張照堂、林寶元、蔡慶同等
將邀請來自越南的 Dr.Hoang Nhu Yen 、Dr.Ngo Phuong Lan 、Dr.Tran Thanh Hiep
與 Dr.Nguyen Dinh Thi 等四位學者參與下列專題座談 :
‧「當電影遇上第三世界」
‧『動盪中的歷史光影』-- 越南電影歷史
‧『時代記憶／生活田調』-- 越南人類學
‧『從學生影片談起』-- 越南電影教育

以此揭開「第三世界電影系列」序幕

以下為部份影片劇照 :



( Ho Chi Ming , Portrait of a Man / 胡志明肖像 / 1954 )











( Ho Chi Ming , Portrait of a Man / 胡志明肖像 / 1954 )











( A Passerine Bird / 燕鳥 / 1962 )











( Ngu Thuy Girls / 海巡女兵 / 1969 )











( The Deserted Field / 荒地 / 1979 )











( October When Will You Come ? / 十月你何時來 ? / 1984 )











( Chi Nam Khung /「顛」五姐 / 1985 )












( The Knife Blade / 罪名 / 1995 )











( Wharf of Widows / 寡婦碼頭 / 2000 )











( Missing the Countryside / 農村的鄉愁 / 2001 )









( Bar Gilrs / 在酒店裡的那些女孩 / 2003 )









( The Story of Pao / Pao 的故事 / 2005 )




















網址建構中 : www.wretch.cc/blog/thirdcine



越南越南 -- 井迎瑞

進入所謂全球化的時代，第三世界所代表的意義是否也在轉變？它所指涉的是一個具體的地理空間？還是一個特定的觀點立場？而第三世界電影又是呈現什麼樣的面貌？影像如何作為某種邊緣戰鬥的社會反抗？1987年的「另一種電影觀摩研討會」之後，第三世界電影在台灣為何就鮮少被人提起？

自1960年代起第三世界國家開始了一種波爛壯闊的電影運動，在這些電影中呈現了強烈的民族文化色彩對政治、文化、殖民主義與帝國主義提出強烈的批判，他們宣示電影是一桿槍，一桿每秒鐘可發24格影片的槍，用抵抗來自於殖民主義與帝國主義對弱勢國家的侵略與剝削，隨著此電影運動的實踐與發展在1969年阿根廷的電影工作者Solanas與Getino進一步提出了「第三電影」的概念，凸顯第三世界的觀點與立場，而非以第三世界的地理空間來理解第三世界電影，換言之來自於第三世界國家的電影不必然就是「第三電影」，反之只要能堅持第三世界反殖民主義立場的電影都可稱之為第三電影，這樣反而擴大了團結面。

Solanas與Getino認為，第一電影是指那些複製好萊塢傳統的商業電影，它生產的目的是為了消費與獲取利潤，其結果是對新殖民主義時期觀眾的自覺與反抗意識進行馴化與閹割。第二電影是指那些鼓吹「作者論」的作者電影，這類電影標榜電影的藝術性，雖外表似乎對主流體制有些顛覆性，但終究仍然服膺於自由經濟的消費倫理。然而第三電影是一種革命電影為的追求受壓迫者的自由與解放，並找尋一種民族的電影語言來反映民族的需要與立場，對新殖民体系的藝術與媒體進行去神秘化的工作。

這樣的理念影響了也激勵了60、70年代許多地方的社會運動與電影運動，1987年的「另一種電影觀摩研討會」在台北舉行，「第三電影」的概念首次被引進台灣，不少曾參與過學運的一代當時都恭逢其盛，後來隨著政黨輪替社運就失了焦學運也繳了械，取而代之的是政治的酬庸與分贓，第三世界電影在台灣就鮮少被人提起？自1987年後台灣媒體的環境有沒有更好？台灣電影是否已找到了自己的語言？第三電影堅持的理念對今天的台灣還管不管用？我們需要好好想想些個問題也需要好好審視一下我們自己。

歷史的發展是弔詭的，我們本與越南沒有什麼關係的（頂多是同為美國圍堵共產主義防線中的一個灘頭堡）現在也有了關係，可是這幾年當我們提到越南想到的卻是越籍配偶與台商眼裡投資與遷廠的新選擇，除此之外對於越南的文化與國情，甚乃至於有抵抗帝國主義霸權的光榮歷史我們竟一無所知。而外籍配偶在台灣日益高漲的右翼民族主義時代氛圍裡被媒體所污名化，這種反新移民的情緒就合理的剝奪了他們的文化工民權使外籍配偶成為台灣社會中永遠的他者。

60年代是個抗議的年代，抗議國家暴力對人權的侵害，抗議美國出兵侵略越南，「越戰」也因此成就了Bob Dylan、成就了披頭四、成就了嬉皮運動，「越南」就用苦難與戰火在她受傷的身體上紋出了一幅代表著60年代永不屈服精神的視覺符號，「越南想像」也成為一種批判意識與一個時代的精神涵養，激勵了第三世界受壓迫國家的民心士氣，形成休戚與共與團結合作的階級意識，因此建構第三世界論述越南經驗是不能少的一部份。

今天我們重看第三世界電影並且找尋它在今天的意義，我們選擇就從「越南電影」開始。








有關越南電影剪影 , 這篇文章可參考 :


A Panorama of Vietnamese Cinema -- by Ngo Phuong Lan, Ph.D ( film critic )


The French Connection

Vietnamese audiences had, in fact, come into contact with cinema in the early years of the 20th century. Vietnam was a French colony and French investors built cinema halls for business, first in Hanoi and later, in the 1920s, in Hai Phong, Saigon-Cholon, and provincial towns and other townships. By 1927, the country's film projection network consisted of 33 halls. The French did not create the material or technical bases for filmmaking in Vietnam, because they regarded filmmaking as an industry akin to a 'processing industry'. Films were shot in Vietnam with some Vietnamese actors and actresses and were then taken to France for processing and editing. In the early 1930s, when sound films became popular the world over, several Vietnamese intellectuals dreamed of making Vietnamese films with Vietnamese actors and actresses speaking Vietnamese. They mobilised resources to make The Ghost Field (Canh dong ma, 1937-38), which was scripted by Nguyen Van Nam, a contemporary writer. However, The Ghost Field, ended as a financial failure because the filmmakers were not able to deal with the sophisticated business intrigues of the Chinese. On September 2, 1945, President Ho Chi Minh read the Declaration of Independence, proclaiming the birth of the Democratic Republic of Vietnam. Immediately thereafter, the Revolutionary Government set up a 'Section of Cinema and Photography' in the Ministry of Information and Propaganda. Though equipped with a few primitive film projectors and only one spring-operated 35mm Cine Sept camera, Vietnamese cameramen and photographers covered many important events.

Cinema in the Years of War

In March 1953, President Ho Chi Minh signed the Decree for the establishment of 'The Vietnam State Enterprise for Film and Photography'. This is considered the official founding day of the central-level cinema.This was a period when revolutionary filmmaking asserted itself in the struggle for national independence. The Dien Bien Phu victory brought to an end the century-long domination of French colonialists in Vietnam, and led to the Geneva Agreement on Vietnam (1954), which divided the country into two parts, the North and the South, for two years. In reality, the American imperialists violated the Geneva Agreement, introduced their troops into South Vietnam and prolonged the Partition of our country by 20 years. The wartime period of Vietnamese cinema lasted from the founding of the cinema in 1953 to the liberation of South Vietnam and national reunification in 1975. The aim of the films was to fulfil the nation’s main aim – expelling foreign invaders and regaining independence and national reunification. Cinematic activities became an integral part of peoples’ daily life and struggle. However, for foreign audiences, many Vietnamese films of that time were considered rigid “flag-waving” propaganda. Why is the domestic audience’s viewpoint so different from that of foreigners? What is the nature of the wartime films? What are their artistic values?A salient characteristic of the wartime films is that most of them focus on highlighting the virtues considered noble in wartime such as patriotism, vindictive hatred for the enemy, heroism, self-sacrifice, and other traditional standards of morality. So the qualities expressed in the films were all related to modernity and nationality. Though attracting domestic audiences, many wartime films did not win over foreigners because of the following reasons: For Vietnamese spectators, these films originated from the clearly stated viewpoint in line with the dominant spirit of society then: “All for the frontline; all to defeat the American invaders.” Thus the cinema helped to strengthen confidence in an ultimate victory and encouraged the people to serve the cause of the nation. Moreover, at that time, there was no entertainment to speak of and war films became hugely popular. Foreign audiences on the contrary, were not concerned with the resistance war in Vietnam. They had better choices of entertainment and amusement. So for them, the devastating and violent scenes of war on the screen seemed boring. Some Vietnamese films were in fact unattractive and propaganda-oriented according to the formula: “We are good, the enemy is bad”, or “We are the winner, the enemy the loser.” The characters in these films were simple and rigid, representing common patterns but not personalities and intimate emotions. This weakness resulted partly from the historical situation and partly from the limitations in traditional literary and artistic creativity. It existed obstinately as a “chronic illness” of Vietnamese films. However, there were a number of valuable cinematic works.

Post-Liberation and Reunification Films

The post-war period of Vietnamese cinema lasted from victory in the spring of 1975 to the launching of the renewal (doi moi) policy in 1986.The great victory in the spring of 1975 (April 30), brought about the complete liberation of South Vietnam and the reunification of the country after 20 years of division. For the first time, since the foundation of the Democratic Republic of Vietnam (1945), the country was entirely independent and embarked on the path of peace. Profound changes in life led to changes in the themes of films. For the first time, war was relegated to a secondary position and the focus was on social reality. The return of peace gave rise to very complex problems, and cinema reflected this new social reality in a lively way and from many different angles. There were problems of healing the wounds of war, reunion of spouses, fathers and children, brothers and sisters after long years of separation; soldiers coming home after the war; changes in lifestyle, in relationships between the individual and the community; dilution of idealism and degradation of social ethics.Real life became the subject of many films and filmmakers had more opportunities to take up different topics and view society from varying perspectives. In terms of genres, it is possible to say that realism became the main style in many films in this period.War themes were also depicted but in different ways: filmmakers seemed to have had enough time to assess and think about nobility, glory and heroism of the resistance war. They could reassess the war more thoroughly. Private and daily life were brought to the screen in a natural manner, displaying many outlooks on life or charged with symbolic meanings.

Renewal (Doi Moi): since 1986 up to now.

The 6th Congress of the Communist Party of Vietnam in December 1986 launched the doi moi (renewal) policy to comprehensively renew the country’s situation. The core of the policy was to shift the national economy from a subsidisation regime to a State-run market mechanism. Such a change has deeply influenced society. Art and literature, including the cinema, also entered the doi moi period. A fresh breeze swept through art and literature leading to freedom in creativity, and honesty and directness in dealing with critical social issues. A diversity of subjects and themes emerged and social themes began to be treated with greater depth. But more importantly, in the doi moi period, new forms and a new language of cinema very different from the wartime and post-war films appeared. The themes and topics for feature films expanded into different fields and were viewed from different angles. Each theme bore its own stamp. Many works went to extremes in presenting reality and the hidden sides of people’s feelings, sentiments and desires. The war theme took on a different perspective, showing the characters not only as heroes but also as ordinary men and women with normal emotions and desires. The post-war topics include sensitive social and family-related issues as well as the trauma of war.
Since its establishment in 1953 until the late 1980’s, the Vietnamese state cinema was totally “subsidized.” Film production, distribution and exhibition, payroll for writers, artists, staff and technicians were entirely supported and managed by the government. No returns on investment were required since all exhibition receipts were collected by government agencies. The market for movies was not yet established in the northern regions during the period of war.On 30 December 2002, the Ministry of Culture and Information gave private film companies the legal right to operate independently from the state. This encouraged the domestic “socialization of cinema” and brought new capital resources, included those from over seas. It marked, at the same time, a new period for the cinema content industry in Vietnam.In 2003, spectators returned to cinema theaters after some attractive films were released from the state-owned Giai Phongstudio of Ho Chi Minh City. Starting with Bar-Girl, the best-selling domestic feature film ever made in Vietnam, young people found new interest in domestic movies. Since the success of Bar-Girl, with an income ten times greater than the investment, private film producers have become more confident in making entertainment movies, and several companies have recently started co-productions with foreign partners. The state cinema policy now seeks to encourage three areas of film production: “orthodox” films for greater understanding of national and revolutionary traditions, “artistic” films that maintain high standards of creativity, and “entertainment” movies for pleasure and profit.Currently, besides the five big state-owned film agencies under the Ministry of Culture and Information, there are 25 smaller film agencies with their own regional incomes and another 15 private film companies.The history of Vietnam is punctuated with perpetual changes in which war and peace alternate. Most of the films, made in the 54 years of the existence of Vietnamese cinema (since its birth in 1953), have dealt with these changing historical situations. With the policy of opening up, with a new orientation in literature and the arts, and with decisive help from the State, it is likely that the specific problems of Vietnamese society may be presented by filmmakers in innovative ways. At the same time, it is also hoped that the country's cinema will be better known and appreciated by international audiences in the years to come.



越南電影概況 -- Ngo Phuong Lan 博士 ( 影評人 )

法國的影響

　　事實上，越南觀眾早在20世紀初期就已接觸到電影這個媒介，越南作為法國的殖民地，法國投資者最早在河內及1920年代在Hai Phong、Saigon-Cholon、省城及其他鄉鎮就設立了電影院，到了1927年以前，整個國家的電影放映網絡已包括了33間廳院。
法國並未在越南建立起電影製作的物質或技術基礎，因為當時他們採用類似＂加工業＂的方式來進行電影製作，這類電影多是在越南拍攝並有部份越南演員參與，然後再帶回法國進行後製及剪輯，在1930年代初期，當有聲電影在全球風行之際，幾位越南知識份子開始希望製作由越南演員主演、以越南話發音的越南電影，他們動員了各方資源製作了一部The Ghost Field（Canh dong ma, 1937-1938），劇本是由當代作家Nguyen Van Nam所寫，然而，由於製作人無法處理與華人資金之間的商業問題，這部電影最終是因財務因素作罷。
　　1945年9月2日，胡志明總統（President Ho Chi Minh）宣讀了獨立宣言（Declaration of Independence），越南民主共和國（Democratic Republic of Vietnam）正式成立，革命政府（Revolutionary Government）隨即在資訊及宣傳部（Ministry of Information and Propaganda）下設立了電影及攝影司（Section of Cinema and Photography），儘管，只有少數舊式的放映機及一部35厘米Cine Sept攝影機可用，越南的攝影師們仍然紀錄下了許多重要的事件。

戰時電影

　　1953年3月，胡志明總統簽署公佈了一項成立越南電影及攝影國營企業（The Vietnam State Enterprise for Film and Photography）的命令，這被視為是中央層級官方電影的開端之日。
　　這是一個爭取民族獨立的革命電影時期，Dien Bien Phu戰役的勝利，結束了法國殖民主義在越南長達一個世紀的統治，當時所簽訂的Geneva Agreement on Vietnam（1954年）則將這個國家區分為南北兩個部分，在兩年之後，美國帝國主義違背了這個協定，派出部隊進駐南越，使得這個國家的分離狀態又延續了近20年。
　　戰時的越南電影，乃是從1953年到1975年南越解放及國家統一為止，電影的功能在於滿足國家主要目標—驅逐外國入侵者、重獲獨立並致力國家統一，電影活動乃成為人民日常生活及其抗爭整體中的一部分，然而，對於外國觀眾而言，其時的許多越南電影乃被視為硬梆梆的狂熱愛國主義的宣傳，為何本地觀眾的觀點與外國觀眾差異如此之大？戰時電影的本質是什麼？它們的藝術價值何在？
　　戰時電影的一個顯著特色在於，它們大多數專注於宣揚某種價值，也就是在戰時所被推崇的愛國主義、仇視敵人、英雄主義、自我犧牲及其他傳統道德標準，因此，電影所呈現的性質都與現代性及國族性相關，儘管它們能夠吸引本地觀眾的目光，但由於下述因素，許多戰時電影卻未能獲得外國觀眾的青睞：對於越南觀眾而言，這類電影的明確立場與當時社會的主要氛圍是一致的：＂都與前線作戰有關、都與打倒美國入侵者有關＂，因此，這類電影得以強化最終將會獲得勝利的信心，並鼓舞人民為國家民族奉獻，而當時也沒有其他娛樂形式，電影自然就變得非常受到歡迎。
　　相對地，外國觀眾並不關心越南的反抗戰爭，他們擁有更多娛樂及休閒的選擇，對於他們而言，螢幕上關於戰爭的殘酷與血腥場景乃是乏味的，實際上，有的越南電影非常無趣且淪為制式宣傳：＂我們是好人而敵人是壞蛋＂，或者＂我們是贏者而敵人是輸家＂，這類電影的邏輯乃是簡單而僵化的，表現的是一種共通模式而非個性及親密情感，這個缺點部分來自於歷史的條件，部分來自於傳統文藝與藝術創意的限制，它似乎也根深蒂固地成為越南電影的＂痼疾＂，然而，其中仍有不少具有價值的電影作品。

解放後及統一後的電影

　　戰後時期的越南電影，乃是從1975年春天的勝利到1986年開始的革新（doi moi）政策。
　　1975年春天（4月30日）的重大勝利，象徵著南越的完全解放及國家在20年分離之後的終於統一，自從越南民主共和國成立（1945年）以來，這是第一次國家完全獨立並且重獲和平，社會生活的深刻改變也導致電影主題的改變，戰爭首度降到第二順位，而較為著重於社會現實的討論。
　　重獲和平帶來了非常複雜的問題，而電影也生動地從多元視角來反映著新的社會現實，這類問題包括戰爭創傷的治療、夫妻的重聚、父子或兄弟姊妹的長期分離、軍人戰後返鄉、生活方式的改變、個人與社群之間的關係、理想主義的淡薄、社會倫理的淪喪。
　　真實的生活成為許多電影的主題，電影工作者也有較多機會去拍攝不同的題材，並從多元視角來觀照社會，就類型而言，可以這麼說，現實主義成為其時許多電影的主要風格。
　　戰爭的主題仍舊存在，但卻發展出不同的敘述方式：電影工作者有更充裕的時間去細細思索反抗戰爭的崇高意義、光榮精神及英雄主義，他們得以更為全面地來重新評估這場戰爭，而私密及日常生活很自然地被放在螢幕上，以表現生活的觀點或呈現象徵的意義。

革新（Doi Moi）時期：1986年至今

　 1986年9月，越南共產黨第六次大會，提出了革新政策以改革並促進整個國家的發展，政策的核心即是將國家經濟從國營體制改變成為國家主導的市場機制，這個改變已深刻地影響著整個社會，藝術、文學包括電影，也進入了所謂革新的時期，有如一陣清新微風吹過了藝術及文學領域，它帶來了創意的自由，同時也得以誠實地直接地面對嚴肅的社會議題，題材及主題的多元性日益浮現，而社會議題開始有了更為深刻的討論，但是，更重要的是，在這個革新的時期，新的形式及新的電影語言，已與上述戰時及戰後的電影相當不同，劇情電影的主題及題材擴展到不同的領域，也充滿多元的視角，每個議題都有其自身的特色，許多作品開始高度呈現現實，尤其是人們的感覺、情感及慾望裡不為人知的一面，而戰爭的主題也呈現不同的觀點，已不只是呈現英雄的特質，也開始描述平凡男女的感情與慾望，同時，還有戰後的敏感社會及家庭議題、戰爭創傷的議題等等。

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從1953年開始到1980年代晚期，越南國家電影乃是完全國營的，電影製作、發行及映演、作家、藝術家、工作人員及技術人員的薪資，都是由政府完全支應並管理的，並不存在所謂投資報酬的問題，所有票房收入都是由政府機關所統一回收，電影市場在戰爭時期的北越地區尚未真正形成。
2002年11月30日，文化及資訊部（Ministry of Culture and Information）准許私人企業公司得以獨立營運，此舉鼓勵了本地電影的社會化（socilalization of cinema）趨勢，並且引進了新的資本資源，包括來自海外的資金，這也標示著越南電影產業進入一個新的時期。
2003年，胡志明市的Giai Phongstudio國營企業的幾部電影放映之後，觀眾開始回流到電影院，一開始是由越南本地劇情電影最為暢銷的Bar-Girl所帶動，年輕人對於本地電影開始有了興趣，由於此片的成功，它的票房收入乃是製作成本的十倍以上，民間電影製作人對於製作娛樂電影更具信心，許多公司近期也開始與外國夥伴進行合製。
國家的電影政策現在則是鼓勵三個面向的電影製作：表現民族及革命傳統的＂正統＂電影、具備高水準創意的＂藝術＂電影、講求休閒及利潤的＂娛樂＂電影。
　　目前，除了文化及資訊部下轄的五間大型國營電影公司之外，另外有25間較小型、擁有區域性收入的電影公司，以及15間私人電影公司。
越南的歷史，呈現的是戰爭與和平的交替動盪，而在越南電影歷史54年（1953年誕生以來）的發展，涵蓋了這類變遷的歷史脈絡，在開放政策、文學及藝術的新潮流、國家的重要支持等等影響之下，越南社會的特定問題，將會由電影工作者不斷地以創新手法加以呈現，同時，我們也希望在未來，這個國家的電影能夠廣為人知並為國際觀眾所激賞。

( 蔡慶同 譯 )