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美国人眼中的历史：《南京》

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发表于 2007-8-4 13:59:34 |只看该作者 |倒序浏览

<img src="http://jinyadanjoe.blogbus.com/files/11843062580.jpg" border="0" alt=""/>美国人拍南京大屠杀。《南京》<h4 class="mt20">导演</h4><div class="pl30">比尔·古登泰格Bill Guttentag丹·史度曼Dan Sturman</div><h4 class="mt20">编剧</h4><div class="pl30">Elizabeth Bentley比尔·古登泰格Bill Guttentag丹·史度曼Dan Sturman</div><h4 class="mt20">影片类型：</h4><div class="pl30 lh18">纪录片</div><h4 class="mt20">片长：</h4><div class="pl30">USA:88 min</div><h4 class="mt20">国家/地区：</h4><div class="pl30 lh18">美国</div><h4 class="mt20">对白语言：</h4><div class="pl30 lh18">英语   日语   汉语普通话</div><h4 class="mt20">色彩：</h4><div class="pl30 lh18">彩色  黑白</div><div class="pl30 lh18"> </div><div id="right_col"><div id="divLoginAndUser"><div class="loginbox" id="login_window_div"> </div></div></div><img src="http://jinyadanjoe.blogbus.com/files/11843063600.jpg" border="0" alt=""/>以下为转贴：《电影与反电影》正当《南京》一片角逐今年圣丹斯独立电影节纪录片单元时，日本某些右翼势力分子40多人在东京召开集会，全力支持日本导演水岛哲（Satoru Mizushima）声明的打算“客观重现那段历史”的纪录片《南京真相》，该片得到了日本高层和东京都知事的大力支持，另有一些文化界人士和历史学者也对此表示了赞成。导演声称此片会在日军进驻南京城的70周年纪念日献映，他觉得“有义务将真相告诉世人”。他认为美国方面投资拍摄的《南京》一片是受到了“中国政府的指使和利用”，这将“损害日本的国际形象”和“歪曲那段历史事件的真实性”；而他本人拍摄的《南京真相》则将秉承客观态度，不会有诬蔑中国或者华人的意识形态内容出现。而且，于1997年出版的纪实小说《南京大屠杀》在许多日本学者和教授那里受到了严厉指责，声称其在某些历史事实上经不起推敲。Ted Leonsis将这则消息以“Film/Counter Film”的标题放在了自己的博客上，并打算利用自己的基金会筹集的资金将张纯如的那部小说《南京大屠杀》搬上银幕。 <img src="http://jinyadanjoe.blogbus.com/files/11843075460.jpg" border="0" alt=""/> <img src="http://jinyadanjoe.blogbus.com/files/11843076280.jpg" border="0" alt=""/>导演访谈：“‘屠杀’和‘遗忘’不应该出现在同一句话中。”（导演Bill Guttentag 和Dan Sturman前年曾因《双子塔》获得奥斯卡纪录短片奖）（－indiewire记者专访）

lease tell us about your film, and how the initial idea come about.请谈下你们的这部电影，以及缘起吧。DS: The film is the story of what happened during the infamous rape of Nanking in 1937 as told through the eyes of Chinese survivors, Japanese soldiers, and a group of very courageous Westerners who stayed behind and formed a safety zone which sheltered thousands of Chinese civilians. The idea for the film came From producer Ted Leonsis who read about what happened in Nanking and was moved to make a movie about it.DS:这部电影通过中国的幸存者、日本士兵和一群留在了当时的沦陷区，并建立了一个庇护了成千上万名中国平民的无畏西方人的视角，讲述了1937年的那次著名的南京大屠杀（rape of Nanking ）。电影计划是有我们的制片Ted Leonsis提出的，他在看了一些关于当时南京的资料后，深为震撼。

lease elaborate on your approach to making “Nanking,” as well as your overall goals for the project.请详细谈下你们拍摄《南京》一片的详细计划和形式，同时也谈下你们希望通过影片所想达到的目的。BG: When I first began to explore the possibility of making a film on the Rape of Nanking, I learned that it was referred to as the “Forgotten Holocaust”. I felt that the words “holocaust” and “forgotten” should never be in the same sentence - and my hope is in the future they will not be. Most of the victims of Nanking are long dead, as is a small group of Western and Chinese heroes who at great risk to their own lives saved hundreds of thousands From rape and murder. My hope is the victims of Nanking will be remembered, and the Chinese, European, and Americans who did so much good in the worst of times will always be remembered for extraordinary heroism.BG：起初当我们试图探寻如何拍摄类似“南京大屠杀”这部影片时，我了解到这被称作一段“被遗忘的屠杀”。我觉得“屠杀”和“遗忘”两个词永远不能在同一句话中出现——我希望它们将来也永不会出现。许多南京屠杀的受害人都与世长辞了，但与此同时一群由西方人和中国人组成的英雄们冒着极大的生命危险挽救了成千上万的生命。我希望南京的受害者们能够记住：中国人、欧洲人和美国人在极端困难年代中所做的这些大无畏事迹将被铭记。DS: We wanted to avoid making a typical historical doc - the kind that features talking head academics and long moves across still photographs. Instead, we wanted our audience to have a visceral feeling for the drama and emotion of the story we were telling. Since none of our main characters were alive to be interviewed, we crafted a stage reading From the words they left behind in diaries, letters, etc. We then assembled a first-rate cast of actors and filmed them together on a soundstage. These performances - which form the narrative spine of the film - truly brought our main characters to life. In an effort to make our film visually dynamic, we also conducted an exhaustive search in six different countries for every scrap of archival footage we could possibly find, and we ended up unearthing some hidden gems. Among these, we found a fascinating propaganda film shot by the Japanese in 1937 purporting to show the benevolence of their occupation. We also located 40 minutes of 16mm footage secretly shot by one of the Westerners inside Nanking and then smuggled out of China - the material is incredibly raw and powerful.DS：我们刻意避免将此片做成那种典型的历史题材影片——即由那些教授在前面长篇大论，然后镜头在一张张照片上移来移去的表现形式。取而代之的是，我们希望观众能够对故事有一种切肤之痛，并能对我们讲述的故事有身临其境的感觉。因为我们所想采访的对象都已经告别人世，所以我们以这些人的日记、信件等为蓝本，采用了一种舞台阅读的方式。于是我们找来了许多一流的演员，并在一个录音棚将他们聚在一起进行了摄制。这些演员通过对那些文字的精彩演绎，似乎又将当事人带回到了我们身边。为了让我们的影片更加有视觉震撼力，我们从六个国家搜集了我们可能找的到的许多影像档案资料，我们也从中挖出了许多遗珠。其中我们找到了一部由日方拍摄的反映他们在1937年的南京如何给当地老百姓谋福利的宣传片。我们也找到了一部40分钟长的由当时在南京的西方人秘密拍摄的16mm影片底片，此后这些底片被偷运出中国——这些资料都损坏的相当严重，但也的确具有震撼力。How did the financing and casting of your film come together?影片的资金和演员是如何募集的呢？DS: The film was funded by our producer, Ted Leonsis, as a labor of love. We had two dynamite casting directors, Mary Vernieu and Venus Kanani, working together with CAA.DS：影片资金是由制片人Ted Leonsis像义工一般无偿资助的。我们有两名演员指导Mary Vernieu和Venus Kanani与美国演员工会一起合作完成的。What were some of the biggest challenges you faced in either developing the project or making the movie?在拍摄和计划阶段遇到过什么重大挑战或困难么？DS: This film was much more difficult to make than we had initially anticipated … Where to begin? Working in Japanese and Mandarin was tough. Even tougher was working with elderly Japanese and Mandarin speakers who speak in an antiquated, often unintelligible, regional dialect. Then, of course, there is the politically sensitive nature of our subject matter - the Chinese and Japanese still don’t agree on what happened in Nanking nearly 70 years ago, and the dispute continues to sour relations between the two countries. To this day, many Japanese believe that stories of atrocities in Nanking are exaggerations and lies. Some of the people we hired in Japan actually quit the project, citing pressure From family members who disapproved of the subject matter.DS：这部电影的拍摄的艰辛度异乎寻常，大大出乎我们的意料……我们该从何处下手？用日文和普通话拍摄都很困难。而与那些年长的日本人或者中国人合作则更加棘手，因为他们往往语调不清，口音模糊，还带有方言口音。而且我们的主题本身也有很多政治敏感性——中国和日本在这个发生于70年前的事件上依旧没有达成共识，而在这两个关系僵化的国家之间争论不断持续着。直到今天，许多日本人相信关于南京暴行的类似故事无非是夸张和谎言。一些在日本雇用的摄制组成员都因为受到家庭成员的压力而中途退出了。

lease tell us about your film, and how the initial idea come about.请谈下你们的这部电影，以及缘起吧。DS: The film is the story of what happened during the infamous rape of Nanking in 1937 as told through the eyes of Chinese survivors, Japanese soldiers, and a group of very courageous Westerners who stayed behind and formed a safety zone which sheltered thousands of Chinese civilians. The idea for the film came From producer Ted Leonsis who read about what happened in Nanking and was moved to make a movie about it.DS:这部电影通过中国的幸存者、日本士兵和一群留在了当时的沦陷区，并建立了一个庇护了成千上万名中国平民的无畏西方人的视角，讲述了1937年的那次著名的南京大屠杀（rape of Nanking ）。电影计划是有我们的制片Ted Leonsis提出的，他在看了一些关于当时南京的资料后，深为震撼。Please elaborate on your approach to making “Nanking,” as well as your overall goals for the project.请详细谈下你们拍摄《南京》一片的详细计划和形式，同时也谈下你们希望通过影片所想达到的目的。BG: When I first began to explore the possibility of making a film on the Rape of Nanking, I learned that it was referred to as the “Forgotten Holocaust”. I felt that the words “holocaust” and “forgotten” should never be in the same sentence - and my hope is in the future they will not be. Most of the victims of Nanking are long dead, as is a small group of Western and Chinese heroes who at great risk to their own lives saved hundreds of thousands From rape and murder. My hope is the victims of Nanking will be remembered, and the Chinese, European, and Americans who did so much good in the worst of times will always be remembered for extraordinary heroism.BG：起初当我们试图探寻如何拍摄类似“南京大屠杀”这部影片时，我了解到这被称作一段“被遗忘的屠杀”。我觉得“屠杀”和“遗忘”两个词永远不能在同一句话中出现——我希望它们将来也永不会出现。许多南京屠杀的受害人都与世长辞了，但与此同时一群由西方人和中国人组成的英雄们冒着极大的生命危险挽救了成千上万的生命。我希望南京的受害者们能够记住：中国人、欧洲人和美国人在极端困难年代中所做的这些大无畏事迹将被铭记。DS: We wanted to avoid making a typical historical doc - the kind that features talking head academics and long moves across still photographs. Instead, we wanted our audience to have a visceral feeling for the drama and emotion of the story we were telling. Since none of our main characters were alive to be interviewed, we crafted a stage reading From the words they left behind in diaries, letters, etc. We then assembled a first-rate cast of actors and filmed them together on a soundstage. These performances - which form the narrative spine of the film - truly brought our main characters to life. In an effort to make our film visually dynamic, we also conducted an exhaustive search in six different countries for every scrap of archival footage we could possibly find, and we ended up unearthing some hidden gems. Among these, we found a fascinating propaganda film shot by the Japanese in 1937 purporting to show the benevolence of their occupation. We also located 40 minutes of 16mm footage secretly shot by one of the Westerners inside Nanking and then smuggled out of China - the material is incredibly raw and powerful.DS：我们刻意避免将此片做成那种典型的历史题材影片——即由那些教授在前面长篇大论，然后镜头在一张张照片上移来移去的表现形式。取而代之的是，我们希望观众能够对故事有一种切肤之痛，并能对我们讲述的故事有身临其境的感觉。因为我们所想采访的对象都已经告别人世，所以我们以这些人的日记、信件等为蓝本，采用了一种舞台阅读的方式。于是我们找来了许多一流的演员，并在一个录音棚将他们聚在一起进行了摄制。这些演员通过对那些文字的精彩演绎，似乎又将当事人带回到了我们身边。为了让我们的影片更加有视觉震撼力，我们从六个国家搜集了我们可能找的到的许多影像档案资料，我们也从中挖出了许多遗珠。其中我们找到了一部由日方拍摄的反映他们在1937年的南京如何给当地老百姓谋福利的宣传片。我们也找到了一部40分钟长的由当时在南京的西方人秘密拍摄的16mm影片底片，此后这些底片被偷运出中国——这些资料都损坏的相当严重，但也的确具有震撼力。How did the financing and casting of your film come together?影片的资金和演员是如何募集的呢？DS: The film was funded by our producer, Ted Leonsis, as a labor of love. We had two dynamite casting directors, Mary Vernieu and Venus Kanani, working together with CAA.DS：影片资金是由制片人Ted Leonsis像义工一般无偿资助的。我们有两名演员指导Mary Vernieu和Venus Kanani与美国演员工会一起合作完成的。What were some of the biggest challenges you faced in either developing the project or making the movie?在拍摄和计划阶段遇到过什么重大挑战或困难么？DS: This film was much more difficult to make than we had initially anticipated … Where to begin? Working in Japanese and Mandarin was tough. Even tougher was working with elderly Japanese and Mandarin speakers who speak in an antiquated, often unintelligible, regional dialect. Then, of course, there is the politically sensitive nature of our subject matter - the Chinese and Japanese still don’t agree on what happened in Nanking nearly 70 years ago, and the dispute continues to sour relations between the two countries. To this day, many Japanese believe that stories of atrocities in Nanking are exaggerations and lies. Some of the people we hired in Japan actually quit the project, citing pressure From family members who disapproved of the subject matter.DS：这部电影的拍摄的艰辛度异乎寻常，大大出乎我们的意料……我们该从何处下手？用日文和普通话拍摄都很困难。而与那些年长的日本人或者中国人合作则更加棘手，因为他们往往语调不清，口音模糊，还带有方言口音。而且我们的主题本身也有很多政治敏感性——中国和日本在这个发生于70年前的事件上依旧没有达成共识，而在这两个关系僵化的国家之间争论不断持续着。直到今天，许多日本人相信关于南京暴行的类似故事无非是夸张和谎言。一些在日本雇用的摄制组成员都因为受到家庭成员的压力而中途退出了。

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姑娘你真好,刷牙吐泡泡, 我心像小鹿,你快来拴住

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边河

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发表于 2007-8-4 13:59:34 |只看该作者

以上图片均来自《南京》电影官方网站：<a href="http://www.nankingthefilm.com/">www.nankingthefilm.com/</a>
引用照片内容依次为：1.南京的人民被围捕起来。2.妇女们在南京大街上游行要求保障Ginling大学的安全。3.Woody Harrelson朗读唯一一位逗留在南京的外科医生Bob Wilson的文字。4.南京大屠杀幸存者Chang Zhi Qiang。深圳南国金光华影院每天早上10:50分放一场《南京》，不知道会挂几天。明天和后天都有！

姑娘你真好,刷牙吐泡泡, 我心像小鹿,你快来拴住

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袁群

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发表于 2007-8-4 13:59:34 |只看该作者

对于“南京大屠杀”国人已经基本没有什么感觉了。

还有杂念！

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冯与蓝

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略有小成

骠骑大将军

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发表于 2007-8-4 13:59:34 |只看该作者

<div class="msgheader">QUOTE:</div><div class="msgborder">以下是引用袁群在2007-7-13 15:19:18的发言： 对于“南京大屠杀”国人已经基本没有什么感觉了。</div>这个太悲观了。对于大屠杀的记忆，只要一天还在掩饰，只要一天不被公然承认，就永远是国人心头之痛。

我看出来了，兄弟们个个身怀绝技啊……
http://fengyulan.blog.sohu.com

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