那時我並不了理解社運電影節，那是關於社會運動的「電影節」？還是以「社運方式」舉行的電影節？場刊裏是花多眼亂的電影場次，大部份也不認識，最後之所去出席，可能和免費放映有關。那是在中大文化廣場放映的《粉墨登場》，由一位台灣女學生的視角，講述一場不太成功的反高學費運動。室外燈光不足，畫面灰灰暗暗，風聲總在關鍵時刻蓋過那句對白，我的第一印象是社運電影節都是不重視觀映質素的。之後主辦的人請大家留下來討論，我沒甚麼看不明白，但也沒甚麼說，有人說申請 grant/loan 有多難，抱怨課堂太職業導向，有人分享中學被迫背書的厭惡。我不記得最終怎樣了，但往後一有時間我都會去參與放映。
從事後的眼光看，與其說當時我的投入是因為某種熱情或感動，不如說是有種耿耿於懷。往後偶爾我就會想，那個反高學費的女生，現在怎樣？那個沒能 grant/loan 的同學最後怎樣？那是感動嗎？或許是，不過我聽 Twins 的「同學愛新鮮，戀愛大過天」也很感動，只是轉眼就有下一首情歌。新聞上每天都有使人震驚的資訊，東北村民被迫遷，以巴衝突的新聞裏，灰白街道上突然爆出火紅的暴光，但之後就是某某明星分手的娛樂消息，那些火光彷如過眼雲煙，好像不曾發生一樣。
by: tin san
i went to the screenings of smff last year. this year, i am a co-worker of smff.
i didn’t know what it was at that time. was it a ‘film festival’ about social movements? or a film festival carried out in the ‘form’ of social movements? in the pamphlet, information of screenings was all over the place. i knew nothing about most of them. it might be because the screenings were free of charge that i eventually attended one of them. it was create something screened at the cultural square of the chinese university. the film started with the point of view of a taiwanese female student, narrating a not-so-successful movement opposing high tertiary tuition fees. there wasn’t enough lighting outdoors. images on the screen were dull and gray. there were moments when the wind flew through and swallowed critical lines in films. all that made up my first impression towards smff – this was a film festival which did not care much about screening quality. the organizers then invited us to stay and have post-screening discussion. i had nothing that i didn’t understand, i had nothing to say though. somebody told how hard it was to apply for a government grant or loan on tuition fee, and grumbled on the career-oriented curriculum. another student shared the hatred of being made reciting everything in high school. i couldn’t remember how it ended up that night, but after that night i went to every screening of smff, whenever i had time.
looking back, my devotion during that period was out of some haunting emotions, rather than being moved by some sort of passion. i would recall once in a while, how’s that girl who opposed high tuition fee now? what’s next for the student who failed to get the grant or loan? was i ‘moved’ in some ways? maybe, but i’m also moved by listening to canton pop songs, just that it turns so quick for the next new song to occupy my mind. there is shocking news every day, villagers in northeastern new territories are to be evicted; in the news of the conflict between palestine and israel, violent strikes of flames hit the greyish-white streets, but then there comes the entertainment news of a celebrity breaking up with partners. those flashes are like fleeting clouds, as if nothing had ever happened.
but there was something different about smff. it is like when you have watched the images in films, listened to fellow audience talking, you would somehow be connected to them and could stand alone no more. the film has ended, the discussion is over, but something stays. i discovered that later all those thoughts left after screenings were actually tied to the forms of practice of smff: outdoor screenings make us consider the actual screening environment as part of the screening experience and in the post-screening discussions. those collective screening experience that we audience have gone through together become a basis of/for communication – to think of participating in the public sphere starting from individual thoughts. those practices which look dull and time-consuming might be necessary, as these practices show a kind of understanding towards arts: it’s a means for communication, not cultural taste.
arts should have let us understand what the world is, how it operates, and more importantly, how we can transcend ourselves through images, to get to know those who are usually omitted, oppressed and marginalized, from another angle: what actually does he care about and would always overlook, and why he could see what he sees – to put it with a touch of literature, it is to see the souls of others. we can only actually see ourselves when we are able to see others. if arts could make us more be empathetic and creative, observant and reflective, and to provide resources for reflections, then arts really is ‘the thing’ to seize for social movements hoping for a better society.
perhaps i should emphasize again, i haven’t thought of all these back then, i just took something to heart. but that lingering concern made me think, made me share with friends, made me stay aware of things happening and made me join the smff this year. it’s definitely not ‘expected’ to write in such personal and intimate style, when the target audience of this preface is the general public. but i believe it would be seriously untrue/dishonest, if we don’t include private parts in this smff, which stresses audience participation all along the way.
- 未存在的故鄉 第一部︰〔只隔一江水〕
exodus of nowhere. episode 1: the water is wide
- 未存在的故鄉 第二部︰〔賭局〕
exodus of nowhere. episode 2: gamble
- 未存在的故鄉 第三部︰〔移．住．迴旋〕
exodus of nowehre. episode 3: rondo for the dis/placed
a record of choi yuen village & breaking new ground through thorns and thistles
- 三谷 three valleys
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