【柳叶刀】中国人的挣扎故事----从两部纪录片说起 - 丁香园论坛

super19830102 edited on 2010-09-01 13:55
2010-04-05 16:461Documenting stories of struggle in modern China
中国人的挣扎故事----从两部纪录片说起
Petition and Last Train Home are two remarkable Chinese documentaries that explore loneliness, individuals' principles, and how it feels to be swept up in events beyond your control. Lixin Fan's Last Train Home examines the consequences of the zeal with which China trades in the global market and the death of an old way of life as the nation settles into its role as international manufacturing powerhouse. Petition, the story of those quixotic individuals who attempt to hold local authorities to account, offers a piquant contrast: the determination of the executive to prevent imported ideas from threatening the integrity of the state system.
《上访》和《归途列车》是两部值得关注的中国记录片，该片展现了孤独、个体的遭遇、以及在不可控的现实面前的心碎感。范立欣的《归途列车》反应了中国热衷参与全球贸易，以及在定位于世界工厂角色进程中，旧有生活方式的消逝对个体产生的影响。《上访》讲述的是那些试图把地方当权者送上被告席的唐吉珂德式的偏执狂的故事。上访者的幻想和政府官员稳定压倒一切的决心形成了强烈的反差。
From all over China come the petitioners. They gather around Beijing South Train Station, bringing unresolved cases from the provinces to the attention of central government. They sleep in underpasses and tents. They lean against snow-covered walls carefully filling out endless forms. In government offices they are insulted by the apparatchiks behind the glass—“quit blabbing!”—and manhandled by sullen police officers. These men and women—enduring isolation, ceaseless setbacks, rough treatment, and acute physical hardship are the subject of Zhao Liang's superb Petition. They came to Beijing, explains an elderly petitioner, “to right a wrong”.
上访者来自中国的四面八方，他们在北京火车南站汇聚，带着在地方上得不到解决的案件希望引起高层的关注。他们露宿于立交桥下和棚屋里。倚靠在雪白的墙上填着写不尽的表格。在政府办事处，党的官员在玻璃橱窗后面对他们说“闭嘴”，愠怒的***警叉强行把他们推出门外。这群忍受着孤立、不断的遣返、粗暴的对待以及身体上剧烈痛苦的男人和女人们，就是赵亮精彩的《上访》的主题。一个年迈的上访者说，我们来到北京，为的是纠正冤假错案。
Their stories range from a farmer who has lost his livelihood—“they took away my land, sold all the young crops, and drove me out of my hometown”—to a mother seeking answers about her son's treatment in the Air Force. She claims that he was shackled and denied food and water. Now he suffers from kidney damage and mental illness. She holds up the petition to the camera. Another petitioner, Qin, says her husband died in mysterious circumstances during a medical check-up. The local authorities quickly cremated his body. Qin wants to know why. By the end of the film—after more than a decade spent in a ramshackle hut in the “Petitioners' Village”—she is interred in a psychiatric hospital. All she has to show for her efforts are the scraps of paper on which new appointments are inscribed.
上访者的故事多种多样，一个失去生计的农民说：“他们拿走了我的土地，卖掉了我的青苗，将我赶出了家乡”；一位母亲为儿子在空军的（悲惨）遭遇进京讨说法：儿子被关押并断绝水和食物，现在正遭受肾脏损害和精神病的折磨。说完还在摄影机前高举上访信；另外一名姓秦的上访者说：他的丈夫在一次体检中神秘死亡，地方当局迅速火化了尸体。她进京就是为了得到个解释。在纪录片结尾：在“上访村”飘摇的棚屋待了十多年的秦，被收容于精神病院。她所有的努力都在那张褶皱的写着新上访内容的信上。
Liang started filming in the mid-1990s, Petition concludes with the 2008 Beijing Olympics. It's all been adeptly edited into an incisive account of bureaucracy, the individual, and the state.
赵亮在20世纪90年代中期开始拍摄，到2008年奥运会终止。经过熟练的剪辑，该纪录片透彻的解析了官僚机构、个人、和政府。
The Chinese Government takes the number of petitions as a marker of local government corruption. So local authorities despatch “retrievers” to collect and return petitioners. Halfway through Petition, a couple from Inner Mongolia are hit by a train while trying to escape the retrievers. We see the aftermath: blood on the tracks, a shard of skull, and, appallingly, the torn remnants of a hand.
中国政府把上访者的数量作为反应地方政府***付败的参照物。因此地方当局派遣“搜寻者”寻找和遣返上访者。在上访的途中，一对来自内蒙的夫妇为躲避截访，不幸遭遇火车车祸。我们可看到事故的遗痕：轨道上的血迹，颅骨的碎片，以及令人毛骨悚然的，残留下的撕裂的手。
Refracting Chinese society through the stories of individuals is an approach shared by Lixin Fan in Last Train Home. China's quick-fire development has had obvious benefits. Since 1981 about 400 million citizens have been lifted out of poverty. Nevertheless, much of the former peasantry has merely exchanged one form of backbreaking labour for another. Meanwhile the certainties of the past are disappearing, leaving them slaves to a system they don't fully comprehend. This is the focus of Last Train Home.
范立欣在《归途列车》中通过一个打工者的经历折射中国社会现实。中国蓬勃发展带来明显的益处，自1981以来，400百万人口脱离了贫困。然而，许多昔日的农民仅仅是从一种繁重劳动换到了另一种。同时过去的那种稳定感（安全感，归属感）也消失了，剩下的是牛马般的工作于一个不能完全明白的体系。这些就是《归途列车》的核心。
Changhua Zhang and Suqin Chen are from a small village in Sichuan. But they can't
make a living in the Chinese countryside. They work in a factory in Guangzhou, 2100 km southeast of their home, where they make clothes for export. Their children—Qin and Yang—are brought up by their grandmother. Qin, the eldest, was aged just 1 year when her parents left. Those were exceptionally hard times. Changhua could not find work, he had to survive on one meal a day; when he fell ill with a bronchial infection, he could not afford to consult a doctor.
张昌华和陈素琴来自四川的小村庄，但是在农村无法谋生。他们在距家乡2100km，东南方的广州某工厂制作供出口的服装。他们的两个孩子——张琴和张杨，由祖父母抚养。年长的张琴一岁的时候，他们外出打工。那是一段艰难岁月，昌华找不到工作，每日靠一餐度日，在感染支气管炎时，也看不起医生。
Along with millions of other workers, Changhua and Suqin return home for the Chinese New Year (hence the film's title). It is the largest human migration in the world. Locomotives have long been used as shorthand for industrialisation, and Last Train Home quickly establishes a Steinbeck-like tale of poverty and displacement. Both parents urge their children to study hard; this is the only route out of the countryside that doesn't end in a factory. “You shouldn't be like us”, Changhua cautions Qin.
和千千万万的其它民工一样，昌华和素琴也回家过春节（这也是纪录片的标题）。春运是世界上最大的人口迁移。火车头被当做工业化的一个缩影，《归途列车》迅速的描述了类似斯坦贝克（美国作家）作品的贫穷和迁移的故事。父母两都要求他们的孩子好好学习，这也是唯一能跳出农门且命运不终结于工厂的途径。昌华告诫他的孩子说“以后不要像爸妈一样”。（全是泪水）
The thoughtful first half abruptly gives way to a passage in which the fractured family falls apart. There was always an undercurrent of tension between 17-year-old Qin—bitter at having spent a parentless childhood in an isolated village—and Changhua and Suqin, hurt that their sacrifice is not so much unappreciated as repudiated by their daughter. Now, things turn violent. Last Train Home is a sad tale. Towards the end, Suqin, having decided to return home—“we can't let what happened to Qin happen to Yang”—reflects on the ageing process. “I feel my hands are much slower this year, [and] I can't stay up during the night shifts.” Even worse must be the realisation that the past two decades may have been for naught; that the better life they'd hoped to build for their children—children they barely know—may not happen.
让人沉思的上半场突然让位于一场让破碎的家庭崩溃的争吵。17岁的张琴和她的父母之间存在着潜在的对立，张琴在一个偏远的乡村渡过了没有父母的苦涩的童年；张昌华和陈素琴因他们的牺牲被女儿认为是遗弃，得不到理解而伤心。现在，事情变得激烈。《归途列车》是一个悲伤的故事。在最后，素琴决定回归家乡“我不想发生在张琴身上的事在张杨那重演”，反应岁月的衰老—“我觉得手变慢了，也不能再熬夜上夜班了” 。更坏的是他们认识到过去的二十年毫无意义；他们为孩子构建美好生活的希望难以实现，这点孩子们也十分清楚。
We leave Changhua after he's seen his wife onto the train. He trudges away, and the camera circles the station, watching the purposeful movement of the travellers. China has 130 million migrant workers, Lixin Fan seems to remind us. They all have stories.
当昌华将老婆送上火车后，我们离开了他们。他蹒跚的离去，摄像机环顾车站，镜头里来来往往的旅行者。范立欣似乎在提醒我们，中国有13亿流动的工人。他们都有自己的故事。