日本纪录电影大师：土本典昭 Focus on Tuchimoto Noriaki
8月22日 星期六 Saturday
13:00 – 15:50
《水俣病患者及其世界》
纪录，167分钟，1971年，黑白/35毫米，中文字幕
Minamata: The Victims and their World
Documentary | 167min | 1971 | B&W | 35mm | Chinese Subtitle
16:00 – 18:35
《不知火海》
纪录，153分钟，1975年，彩色/16毫米，中文字幕
The Shiranui Sea
Documentary | 153 min | 1975 | Color | 16mm | Chinese Subtitle
8月23日 星期日 Sunday
13:00 – 14:00
《在路上》
纪录，54分钟，1964年，黑白/35毫米，中文字幕
On the Road
Documentary | 54min | 1964 | B&W | 35mm | Chinese Subtitle
14:15 – 16:00
《水俣日记》 纪录，103分钟，2004年，彩色/DVcam，中文字幕
Minamata Diary: Visiting Resurrected Souls
Documentary | 103min | 2004 | Color | DVcam | Chinese Subtitle
16:15– 17:30
冯艳讲座：我对土本典昭的认识
Talk by Feng Yan: Tuchimoto Noriaki in My View
《水俣病患者及其世界》Minamata: The Victims and their World
作为一部杰出的纪录片，这部作品第一次向世人宣告了水俣病的存在。50、60年代日本经济高速增长所导致的公害问题在70年代已经广泛地被人们认知。其中最具破坏性的案例发生在九州岛水俣地区，因智索公司的有机水银泄漏而导致的污染事件。影片跟踪拍摄了29个受到水银毒害的家庭，描绘了他们的日常生活以及日益壮大的控告索赔运动。伴随着土本本人平静的叙述，影片揭示了一种人的视点：这个世界中的病人，不仅仅是受害者，他们更是正常的人，工人，和渔民。作为水俣系列的第一部，这部作品还标志着作者的兴趣由结构主义的风格向被拍摄者世界观的转换。
As a remarkable documentary, this film announced for the first time the existence of Minamata disease. By the seventies, environmental problems resulting from the high growth economics of the fifties and sixties had become widely recognized. One of the most devastating of these was the organic mercury poisoning created by the Chisso Corporation in Minamata, Kyushu. There, we follow the lives of 29 households who suffered mercury poisoning, as well as the growing movement to support their cause. Accompanied by the calm narration by Tsuchimoto himself, the film discovered a human view of the world in which the patients, more than being victims, are also normal people, workers and fishermen. As the first film of the “Minamata series,” it marked a shift in interest away from constructivist style towards the world view of the subject.
《不知火海》The Shiranui Sea
和水俣病医学三部曲同时拍摄的这个作品，尽量避开了对水俣病的科学分析及斗争纪录，而是描写了日常生活中的水俣病。在这部影片中，我们可以看到渔民们一如既往地在不知火海中捕鱼的场景，看到进行康复训练的患者们向我们讲述生活中的喜悦以及对未来的不安。土本的视线及采访，既沉着又细腻，把我们带入一个拍摄者和被拍摄者相互支撑的世界中去。影片的后半部是访问一个湾内稍远些地方的小岛，通过寻找尚未被发现的受害者，揭示了仍在蔓延的水质污染的危害程度。摄影机所捕捉到的不知火海的美丽风景和患者们讲话的姿势及表情，既让我们看到了复苏和重生的希望，同时也使这部杰出的影片充满电影魅力。
This film, shot in parallel with the medical trilogy in the Minamata series, greatly tones down the documentation of the struggle and the scientific analysis to depict the specter of Minamata disease in everyday life. We can fully glimpse the image of fish still quietly swimming in the Shiranui Sea, as well as the lives of the victims of the disease as they talk about their daily joys and their anxieties over the future while in rehabilitation. Tsuchimoto’s vision and words as an interviewer feel calm and precise, leading us into a world in which the filmmaker and the subjects support each other. The second half of the film visits some far away islands inside the bay where previously unknown victims are being discovered and shows the depth of a disease which is showing signs of spreading. The act of healing is wonderfully captured in the expressions and gestures of the patients as they talk against the background of the Shiranui Sea, providing an extremely rare example of cinematic richness.
《在路上》On the Road
1963年日本经济高速增长时期的东京，城市建设迅疾发展。通过一个在路上的出租车司机，这部影片对这个城市和城市问题进行了记录。
在龟井文夫的现实主义从50年代就成为纪录电影主流的背景下，这部影片犹如一枚炸弹，引发了一场关键性的革命，为60年代的纪录电影开启了新的地平线。铃木达夫35毫米摄影术的绚丽令人惊异，成为了后世摄影师的标准。
Tokyo in 1963 during the middle of high economic growth, when city maintenance construction was proceeding at a fast pitch. This is a record of the city and its troubles according to a taxi driver on the road. While the realism of Kamei Fumio played the lead in the 1950s, this film became the detonator for a decisive revolution opening up new horizons for documentary film in the 1960s. The magnificence of Suzuki Tatsuo’s 35mm photography surprised everyone, becoming the standard for later cameramen.
《水俣日记》Minamata Diary: Visiting Resurrected Souls
1995 年，土本夫妇再次回到水俣。他们为次年将要在东京举办的“水俣展”收集在过去的四十年里1000多名水俣病死者的遗像。并不是特意要制作一部电影，但他们在空闲时间里拍摄的素材记录下了这个地方四季的变幻之美，社区的节日，欢乐的人们，以及他们的祈祷。作者聆听大海，鱼类，以及正在从过去中康复的人们的声音，拍下了他们对这一年水俣的印象和感情。
那个时候，患者们一直盼望着的水俣病问题的政治解决开始出现转机。在以市长吉井正澄为首的市政府的干预下，加害方开始正式道歉和进行赔偿。自水俣病被发现40年后，患者们终于获得了“市民权”。每一个人都在思考要如何在水俣这块土地上生活下去。
十年之后，土本将自己当年在现场录制的画外音加入声轨，完成了这部作品。
In 1995, Mr. and Mrs. Tsuchimoto moved to Minamata once again. Their work was to photograph over 1000 altar portraits of deceased Minamata victims from the past 40 years, to exhibit at the 1996 Minamata Exhibition in Tokyo. Not intending to “make a film”, the video footage shot in their free time recorded the beauty of the changing faces of the four seasons, the community festivals, joyful people, and their prayers. The filmmakers listened to the voices of the sea, the fish, and the people recovering from the past, and filmed their impressions and emotions of that year in Minamata. A decade later, a live recording of a 1996 voice-over explanation by Tsuchimoto himself was added onto the sound track and the work was completed.
地点：伊比利亚当代艺术中心影像放映厅
地址：北京朝阳区酒仙桥路4号798艺术区E06
联系电话：(010) 5978 9530
Venue: Auditorium of Iberia Center for Contemporary Art (ICCA)
Address: E06, 798 Art Zone, No.4 Jiuxianqiao Rd., Chaoyang District, Beijing
Tel: (010) 5978 9530
【编辑：张瑜】
