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国际人类学与民族学联合会影视展映

2009-07-27

国际人类学与民族学联合会影视展映

中国人类学民族学研究会 (一) 国际人类学与民族学联合会影视展映时间表

时间:2009年7月27日-7月31日

Time: July 27th to July 31st

地点:云南大学科学馆一层会议大厅

Venue: The Conference Room of Science Building (Ground Floor), Yunnan University

7月27日

7月27日16:00-17:00

  1.《大河沿》,时长60分钟,导演刘湘晨(中国)。

在塔克拉玛干沙漠腹地,克里雅和下游被称为"达里雅博依",意为"大河沿",世代居住在这里的人们就叫克里雅人。

老赛地肉孜85岁了,他和他的家人在达里雅博依这个叫做奎克吉依黛(青沙枣)的地方生活了四代,即将临产的外孙女热比汗给他带来的重孙将是这个家族的第八代。

热比汗曾有过一次婚史,后认识了卡车司机斯迪克并成为他的情人。在热比汗即将临产之前,斯迪克才与原妻离婚并与热比汗办了结婚手续。带着即将出生的孩子,再加上斯迪克原来的孩子,热比汗希望自己能与斯迪克共同组成一个家。

但是,热比汗的两位舅舅认为这是一件辱没家门的事,他们不希望把这个孩子生下来。

热比汗的妈妈已有过两次失败的婚姻,她希望孩子生下来,这个外孙将是她后半生唯一的希望和寄托。

老赛地肉孜是最后一个知道外孙女怀孕的人,他没有说一句话。

在各种议论中,老赛地肉孜的重孙出生了,这是一个女孩儿。四十天后为孩子取名,老赛地肉孜托了人去找重外孙的父亲斯迪克,一边通知远近的亲戚和相熟的人来参加他重外孙的命名仪式。

在命名仪式即将举行的前一天,受托的人回到了奎克吉依黛,带回了斯迪克没找到的消息,老赛地肉孜的一家人都落了泪。老赛地肉孜重外孙的命名仪式如期举行,老人给她起了一个与伊斯兰圣地相关的名字,叫:麦地那汗。

Beside the River, 60min, by Liu Xiangchen (China).

In the hinterland of the Taklamakan Desert, The lower reaches of the Keriya River are called Daria-boyi, which means "riverside". The people who have lived here for generations are called the Keriyan.

Saderoz is 85 years old. He has lived with his family at the place called Kuikejiyidai (means green oleaster) in Daria-boyi for four generations. Rabiehan, his parturient granddaughter, will give birth to a baby, his great grandchild and the first member of the eighth generation of the family.

Rabiehan has been married once before. Later she got acquainted with Stick, a truck driver, and became his lover. Only when Rabiehan was close to giving birth did Stick divorce his wife and marry Rabiehan. Rabiehan hopes she can have a good family with Stick, together with her upcoming baby and his child.

But, Rabiehan's two maternal uncles think this will bring disgrace to the family. They don't want the baby to be born.

Rabiehan's mother, after having undergone two failed marriages, wishes to have the baby. This grandchild will be her only hope and spiritual ballast in the latter part of her life.

Saderoz was the last one to know that his granddaughter was pregnant. He didn't speak a word about it.

The great grandchild of Saderoz is born regardless of other people's gossip. The baby is a girl. A naming ceremony should be held in the 40th day after her birth. Saderoz asks a man to find the baby's father Stick. Meanwhile, he notifies his relatives and acquaintances far and near to attend the naming ceremony of his great granddaughter.

The day before the ceremony, the man comes back with a bad news: he didn't find Stick. The Saderoz family all shed tears.

The naming ceremony is on schedule. Saderoz gives his great granddaughter a name associated with an Islamic holy site-Medinahan.

7月27日17:15-18:45

2.《Duka的困境》,时长87分钟,导演Jean Lydall(英国)。

Duka生活在埃塞俄比亚南部的哈马尔(Hamar),已婚,且是五个年幼孩子的母亲。她欢迎并鼓励她的朋友,人类学家Jean Lydall的女儿Kaira,拍摄一部关于她和她家人的影片。自从她的丈夫娶了年轻美貌的第二任妻子以来,Duka一直处于情感波动的状态。哈马尔人既放牧也在边远的丛林地区耕种小片的高粱地,这里的男人被允许娶一个以上的妻子,但很少有人这样做。Duka想不通丈夫为什么要再娶,是因为她老了吗?抑或她患久疟使丈夫感到厌烦了?而且,对于新来的妻子Boro,Duka不知如何是好,因为她总是沉默,除非是在愤怒的时候否则从不表达她的情感。此外,Duka的婆婆对儿子背着她娶第二个妻子感到愤怒。但Duka依然乐观,她相信一旦Boro生了孩子,情况会有所改善。每当儿媳生产的时候,婆婆Sagonda总是谈及她的不可或缺的作用。随之出现的一个镜头是波洛即将临盆,并在Duka、婆婆以及另外两名妇女的帮助下生下一名男婴。马塞洛·弗里尼(Marcelo Fiorini)形容该镜头是"迄今为止民族志电影中最震撼、最具冲击力的片段。"9个月之后,Duka又生了一个儿子,显示了她与第二个妻子相处的是如何融洽,但婆婆制造麻烦。在Duka孩子的命名仪式上,婆婆和儿子Sago之间爆发了激烈的争执。Sagonda感到自己在儿子的家户中受到了排挤,要求一间新房子独居,而她的儿子则对她的酗酒多有抱怨。在场的其他老人劝Sago为他母亲盖间新房子,借此平息了争执。当地男子和男孩建造屋顶的画面与第一部分出现的分娩镜头既平行又互补。影片结尾,Duka对Kaira说,"告诉Tammo的爸爸,他应该看看电影中的我。但愿他的和你的朋友知道这部电影;去看、去听,但愿他们喜欢它。这是我对这部影片的要求。"

Duka's Dilemma, 87min, by Jean Lydall (UK).

Duka is a married woman and mother of five young children, living in Hamar, Southern Ethiopia. She welcomes her friend Kaira, daughter of anthropologist Jean Lydall, by encouraging her to make a film about herself and her family. Ever since her husband married a beautiful, young second wife, Duka has been in a state of emotional turmoil. Among the Hamar, who live with herds of cattle and goats, and cultivate small fields of sorghum in remote, bush-covered country, men are allowed to marry more than one wife, but only a few men ever do so. Duka wonders why her husband married again; did he find her too old, or was he turned off because of her chronic malaria? Also, she doesn't know what to make of Boro, the new wife, who is silent and never expresses her feelings except in rage? And on top of this, Duka's mother-in-law is angry with her son for marrying a second wife behind her back. Duka is optimistic, however, that things will improve once her co-wife gives birth. Sagonda, the mother-in-law, talks about her indispensable role whenever a daughter-in-law gives birth, and then a scene unfolds in which Boro, Duka's co-wife, goes into labour and, with the help of Duka, the mother-in-law and two other women, gives birth to a son. Marcelo Fiorini describes this scene as "some of the most stunningly powerful footage ever shot in ethnographic film." Nine months later, Duka, having given birth to yet another son, explains how well she and her co-wife are getting on with each other, but how their mother-in-law, Sagonda, is creating problems. At the naming ceremony for Duka's child a heated dispute erupts between the mother-in-law and her son, Sago. Sagonda, who suffers feelings of exclusion in her son's ménage, demands a new house, while her son complains about her drinking habits. The elders who are present resolve the dispute by recommending that Sago build a new house for his mother. The construction of a roof for this house by local men and boys both parallels and complements the birthing scene in the first part of the film. The film ends with Duka speaking to Kaira, saying, "Tell Tammo's dad he should see me in the film. May his friends and yours know it; hearing and seeing, may they like it. That's my request for the film."

7月28日

7月28日8:00-9:50

3.《Koriam的法则与统治的逝者》,时长110分钟,导演Gary Kilde(澳大利亚)、Andrea Simon(美国)。

片中澳大利亚人类学家Andrew Lattas深入巴布亚新几内亚珀米欧(Pomio)地区玛同(Matong)村,与哲学家报道人Peter Avarea展开热烈对话。通过对话,他们发现了在很大程度上被误解的文化现象背后的宇宙观:太平洋"船货崇拜"。

珀米欧基翁运动出现于1964年,由Michael Koriam Urekit发起。面对官方谴责,其政治与宗教哲学力图揭示完美生存方式的路径,这种路径白人已经找到或者被赋予但自私地独占了。

基翁领导人仔细审查传教士的启示以寻找暗藏的真理和守则。他们也考察殖民统治的形式,尤其是资金和政府机构作为寻找权力来源的线索。Koriam的核心问题是如何从祖先的错误中解脱出来,这种错误将他的人民置于被征服状态。基翁融合了部分基督教传统并使之本土化,寻求与死去的至亲更密切的接触,诱导并恳求他们尽快返回,以结束种族不平等带来的贫困和屈辱。于此同时,还需要与白人权力的两个机构--教会和政府谨慎和巧妙地周旋。

本片关注现代作品和帕米欧基翁运动的宇宙论理解。该运动的领导人渴望表明,该运动与"等候船货"没有任何关系。相反,其重要任务是为即将到来的"变化"做准备,同时,在此时此地建立一个更好的社会。

Koriam's Law and the Dead Who Govern, 110min, by Gary Kilde (Australia), Andrea Simon (USA).

In Koriam's Law Australian anthropologist Andrew Lattas engages with philosopher-informant Peter Avarea of Matong village, Pomio, Papua New Guinea. Through their impassioned dialogue they uncover the cosmology behind the much misunderstood cultural phenomenon: the Pacific "cargo-cult".

The Pomio Kivung Movement was founded in 1964 by Michael Koriam Urekit. In the face of official condemnation its political and religious philosophy sought to uncover the path to that perfect existence which whites seemed to have found - or been given - and selfishly monopolised.

Kivung leaders scrutinised the revelations of missionaries for hidden truths and codes. They examined, too, forms of colonial governance - especially money and bureaucracy - for clues to the source of their power. Koriam's central question was how to find a way back from the original ancestral fault that put his people in this subjugated state in the first place. The Kivung incorporated and localised parts of the Christian tradition whilst seeking an ever closer embrace of the beloved dead, inducing and imploring them to hasten their return so that the deprivations and humiliations of racial inequality might end. In the mean time, the twin organs of white power - Mission and Government - needed to be carefully and cleverly propitiated.

Koriam's Law concerns itself with the contemporary works and cosmological understandings of the Pomio Kivung. Its leaders are keen to show that the movement has nothing to do with 'waiting for cargo'. Rather, its crucial mission is to prepare the way for the coming 'change' and, at the same time, to organise for a better society in the here and now.

7月28日10:20-10:58

4.《打马石的家》,时长38分钟,导演周卫平(中国)。

怒族打马石家在怒江的悬崖之上住了一百年。他们在坡地上种洋芋,要在洋芋上放上一撮杂草,不然种下的洋芋会一直滚落到江底。

二十世纪九十年代以前,怒江一直处于社会的变革之外,与外界的联系也仅限于政府每年对他们的救济。他们始终相信,神灵存在于大山、大江和草丛之中。而贫瘠的土地和险峻的环境成为当地人面对的最大难题,耕地是这里人民的生命,也会因此引起诸多社会矛盾。

2000年,随着中国政府扶贫政策和实施三江并流地区生态保护政策,打马石家面临一次新的生存选择,耐人回味。

Family of Da Mashi, 38min, by Zhou Weiping (China).

The family of Da Mashi (Nu ethnic group) has lived on the cliff of Nujiang for 100 years. To plant potatoes on the slope, the local people have to place a fistful of weed with the potato; otherwise it will roll down from the slope into the river.

Nujiang had been beyond social revolution, with no contact with the outside world but the annual relief by the government until the 1990s. In addition, having been isolated for a long time, the Nu people believe that Gods exist in the mountains, rivers and brushwood.

In 2000, with the promotion of the national poverty support policy and ecological protection policy in the Three Parallel River Area, Da Mashi's family was faced with a new option for survival. That's intriguing.

7月28日11:10-12:00

5.《守望》,时长52分钟,导演高国栋、段建国(中国)。

波溢泗是怒族有名的民间艺人,他们一家祖祖辈辈就生活高黎贡山上的鲁门寨。波溢泗念过初中,去过昆明、上海等大城市表演怒族的"哦得得"。他是村里有文化并见过大世面的人。他一直试图用自己的知识和见识改变家庭尤其是三个女儿的命运,然而,由于各种条件的限制,女儿并没能通过读书改变命运,最终只能依赖婚姻走出大山。女儿们陆续出嫁了,传授"哦得得"技艺的父亲也离开了人世,大山里只剩下波溢泗和妻子以及年过百岁的母亲。波溢泗的内心有些孤独,但是他一直没有放弃改变生活的努力,在高山上开了一家小卖店。他还有一个最大的愿望,那就是在村里组建一个"哦得得"表演队,他希望这门在怒族传承了千年的民间艺术形式不要失传·····

Watchers of the Mountains, 52min,by Gao Guodong, Duan Jianguo (China).

Boyisi is a famous folk artist of Nu ethnic group. His family has been living in Lumen Village on Gaoligong Mountain for generations. Boyisi is a middle school graduate and has been to the big cities like Kunming and Shanghai to perform his Nu folk dance "ODD". He is the educated man in the village and has been around. He has been trying to change the destiny of both his family and daughters by means of his knowledge and experience. However, owning to various kinds of limitation, education didn't change his daughters' destiny, they got themselves out of the mountain through the arranged marriage. With his daughters' leaving and the passing away of his father who taught him playing "ODD", Boyisi is now living on the mountain with his wife and his mother who is over 100 years old. Though he still feels lonely, he never gives up his trying to change his life. He opened a little grocery store. He still holds the biggest wish in his heart to organize an "ODD" performance team in the village. He wishes that the folk art which has been passed down for generations can go on forever……

7月28日13:00-14:24

6.《甲次卓玛和她的母系大家庭》,时长84分钟,导演范志平(中国)。

甲次卓玛是彩塔家第二代的第四个女儿,生活在泸沽湖畔的一个摩梭人母系大家庭。一个偶然的机会,她离家到了昆明,她的命运发生了巨大变化。后来,大批游客的涌入,也使她的家乡泸沽湖发生了始料未及的变化。甲次卓玛是坚守母系大家庭的走婚传统,还是走出泸沽湖,投入到现代都市生活之中呢,这无疑是一个两难的抉择。

Jiacizhuoma and Her Big Maternal Family, 84min, by Fan Zhiping (China).

Enchased on the mountainous border between Yunnan and Tibet is the Lugu Lake, a freshwater lake with an elevation of 2,700 meters. The Mosuo, an ethnic group living in the lakefront area, still maintains its maternal society. In such a society, neither men nor women are married in the conventional way and both the family names and properties are inherited maternally.

Jiacizhuoma is the forth daughter of the second generation of the Caitas', living in a matrilineal great family by Lugu Lake. By an unexpected opportunity Jiacizhuoma left her family for Kunming and her life had changed ever since.Then, the inburst of tourists started to trigger irreversible changes in Jiacizhuoma's hometown-Lugu Lake. Now Jiacizhuoma is facing a dilemma: Should she stick on to her ancient maternal tradition and return to the Lugu lake or move forward to dive into the modern life of a big city?

7月28日14:40-16:30

7.《思念之城》,时长101分钟,导演李靖惠(中国台湾)。

《思念之城》以冬天的情境为背景,描绘老人住在安养院的生活,刻画了老人之间的情谊、恋爱与婚姻故事,以及对家人无尽的思念。这些老人家年龄分布在七十岁至九十岁之间,多数历经烽火战乱的人生,由这些分别唱着国语、台语、日语歌谣的年长女性们,亲托出台湾社会变迁的时空背景之下,年长女性的婚姻样貌与命运,而捕捉安养院里正在发生的爱情故事,则为本片增添更动人的情感。

台北的冬天,冷瑟的空气、灰灰的天空、绵绵的雨;生命的冬天,惨淡的生活交错与美丽的回忆交迭。透过镜头,赡养院的老人们,缓缓诉说生命的风景,原来爱情是恒常的珍宝,苦涩与甜美交错。在真实与魔幻交错的空间里,干渴的身躯冉冉升起无尽的思念,在灯火明灭的城市中,谁能知道我…继《家在何方》、《阿嬷的恋歌》之后,本影片为作者【女性家国纪录片】之第三部曲。

City of Memories, 101min, by Li Jinghui (Taiwan, China).

Set in a winter, the film describes the life of the elderly people in a nursing home, and depicts the friendship, love, marriage and their longing for the companionship of their family. Those who live here are almost between 70 and 90 years old and most of them have experiences in wars. The marriage and fate of the old women during the transition of Taiwan's regime are demonstrated by the ballads they sing in the languages of Chinese, Taiwan Dialect and Japanese. In the love stories that take place in the nursing home, a sense of romance was added to the film.

They have lived through the turmoil of war. With their background and the history of the political situations in Taiwan, the film attempts to describe the ongoing love story and fate of these women to add a moving emotion to the film.

City of Memories is the third documentary in the trilogy "The Realm of Womenhood," after "Where is My Home?" and "The Ballads of Grandmothers." The film depicts the lives of elderly people living in a nursing home: their agony, longing and loneliness. Through the visuals of the film, they gradually illustrate a painting of their life. Love is after all an everlasting treasure intertwined in bittersweet sorrow. Caught in the space between dream and reality, images of wintry Taipei, with its drizzling rain, and the gloomy sky reflect fading minds of these aged women.

7月28日17:00-18:25

8.《学校景观》,时长78分钟,导演David MacDougall(澳大利亚)。

受Lumière的电影及20世纪印度思想家Jiddu Krishnamurti思想的影响,大卫·麦克道格在本片中延续了其关于印度北部传统学校系列影片《Doon学校五重奏》的风格。片中讲述了印度南部安得拉邦(Andhra Pradesh)一个著名的、进步的男女同校学校--丽诗谷(Rishi Valley)学校的故事。终其一生,Krishnamurti taught都在教导,一个人应该努力去冷静而清晰地观察周围的事物。影片就是从这里开始并使观众感到激动和兴奋。本片尝试本找回那种观察世界的清新。它着力于简单的"看"的动作,其中的每一个镜头都包含一个单拍。

Schoolscapes, 78min, by David MacDougall (Australia).

Inspired by the cinema of Lumière and the ideas of the 20th century Indian thinker Jiddu Krishnamurti, David MacDougall follows up his Doon School Quintet, a series of films about a traditional school in North India, with this film about a famous progressive co-educational school in Andhra Pradesh, South India, the Rishi Valley School. Throughout his life, Krishnamurti taught that one should strive to observe more calmly and clearly the things around one. This too was how cinema began, and what excited its first audiences. This film attempts to recapture that freshness of observing the world. It is dedicated to the simple act of looking, in which each scene consists of a single shot.

7月29日

7月29日8:00-10:00

9.《蜕变》,时长119分钟,导演杨干才(中国)、王毅(中国)。

曼蚌小寨的阿卡人世代从事游耕业,然而现在世界变化了。他们从刀耕火种到开田种水稻;从茅草干栏到住进新式瓦房,从使用"明子"照明,到家家拉线用电灯。特别是通电,再加上边防小路通车,他们跨入了"现代文明"。短短三年,新的外在生活方式对阿卡人自身的文化、信仰、观念产生了巨大的冲击。他们渴望获得新的生活,却又对快速来临的一个个新事物不知所措,寨老们困惑不已,曼蚌小寨的阿卡人也充满迷茫。

Transformation,119min, by Yang Gancai(China), Wangyi (China).

Akhas of Manbang village have lived a swiddening cultivation life for generations, but things change: from swiddening or slash-and-burn agriculture; from traditional houses to new ones with asbestos roofs and from 'lightning with resin' to electric bulbs. With electricity and the border road's opening to traffic, they have stepped into the "modern civilization".

Spanning three years, new way of living has had great impact on culture, belief and conception of Akhas. They are keen for new life but do not know what to do with new things. Heads of village and Akhas are both confused.

7月29日10:30-12:14

10.《法律下的姐妹们》,时长104分钟,导演Kim Longinotto(英国)、Florence Ayish(喀麦隆)。

故事发生在喀麦隆西南部的一个小镇昆巴(Kumba),追踪记录了受大众欢迎的政府律师Vera Ngassa和法院院长Beatrice Ntuba的工作。主要人物包括:Amina,她将丈夫告上法庭以此结束她悲惨的婚姻;10岁的Sonita,她敢于指控邻居对她的强奸;以及6岁的曼迦,她试图逃离姑姑对她的虐待。

这是一部关于勇气、希望、改变的可能性的影片。

Sisters in Law, 104min, by Kim Longinotto (UK)、Florence Ayish (Cameroon).

This film is set in Kumba, a small town in South West Cameroon and follows the work of the popular State Counsel, Vera Ngassa, and Court President, Beatrice Ntuba. The main characters are: Amina : who takes her husband to court to end their brutal marrige; 10 year old Sonita who dares to accuse a neighbour of rape and 6 year old manka who runs away from her abusive aunt.

The film is about courage, hope, and the possibility of change

7月29日13:00-14:40

11.《韩信复仇记》,时长100分钟,导演Patrice Fava(法国)。

韩信为汉高祖刘邦出谋划策,灭楚霸王项羽,奠定了汉朝四百年的江山。刘邦登基之后,怕他谋反,设毒计将他暗杀。韩信在幽冥复仇雪恨,指使妖精作怪,以致刘邦病魔缠身,无药可医。全国挂榜求医。法师朱鹤,撕榜面圣,为汉高祖治病救急。他赶去龙虎山天师府请旨。天师指点 到乌风洞,请出十大都猖,捉妖除怪。十大都猖原来是巡山把界十大蛮王,被韩信前生收复,押在乌风洞内,变成十大都猖,在韩王麾下,掌管善者布福,恶者降殃之职。十大都猖把妖怪擒来,押赴法场宰杀,祭祀韩王,汉高祖病愈。

韩信的事迹成为当地史诗。自古以来,在湖南地区他被尊为道教法师最高的神明。传说,每年白露时节他在天上做十天皇帝。至今,湖南道士仍举行隆重的大法事--"还都猖大傩愿"。从"起首"到"送圣回銮",科仪四旦四夕接连不断。其间,道士演绎韩信的神话、请十大都猖捉妖,并做"太牢"祭祀韩信。

Han Xin's Revenge, 100min, by Patrice Fava (France).

The great general Han Xin, after five years of heroic battles on the side of Liu Bang, has finally defeated Xiang Yu, the powerful hegemon of Chu, thereby aiding in the rise to power of Liu Bang, who would become the Emperor Gaozu, founder of the Han Dynasty. But the emperor was jealous of Han Xin's popularity and charisma, and had him assassinated, under the pretext that he was plotting against the throne. At his death, it is said, the sky turned black and his spirit was swept up into the beyond. His apotheosis is regarded as one of the great Daoist Mysteries of the Hunan region. The history of his revenge against the emperor first became a local epic and then a liturgical drama, which the Daoists of today continue to stage. This unique film documents a great sacrificial ceremony, known as Duchangyuan, which lasts four days and four nights. It reveals that Daoism remains alive in the memory of the Chinese and that Daoist Masters still play a major role in contemporary society.

7月29日14:55-15:57

12.《每一段美满的婚姻都始自泪水》,时长62分钟,导演Simon Chambers(英国)。

伦敦的穆斯林女孩Shahanara脱掉粉红色的热裤,换上纱丽前往机场迎接她的丈夫。在她的孟加拉家庭为她安排这桩婚姻之前,她只见过对方一次。Shahanaraton同意这桩婚事只是试图弥合自己与父亲之间的旧伤,父亲曾因她的西方式生活方式将她逐出家门。同时,她虔诚的穆斯林妹妹Hashnara正在为她自己的家庭安排婚姻做准备,只有19岁的她,尚未对眼前的一切做好充足的准备。

Every Good Marriage Begins with Tears, 62min, Simon Chambers (UK).

London Muslim girl Shahanara is changing from pink hot pants into a sari to meet her husband at the airport. She has only met him once before, when she was married in a union arranged by her Bangladeshi family. Shahanara only agreed to the marriage to try and heal old wounds with her father, who had banished her from her family for her Western ways. Meanwhile her devout Muslim sister Hashnara is being groomed for her own arranged marriage, something that at 19 she does not feel at all ready for.

7月29日16:30-17:42

13.《王大家子》,时长72分钟,导演周羽(中国)。

在中国辽宁省瓦房店市杨家乡单家村,有一个在当地被称作"王大家子"的大家族,年近九旬的曲敬英老人早年两度丧夫,含辛茹苦地将四男两女,六个孩子拉扯长大,繁衍成今天五世同堂,近七十人的大家族,老人一直是维系着这个家族团结和睦的精神支柱。虽然四儿子离家远在天津工作,可家并没有分,家里还保留着他的一份财产。全家人同吃同住同劳动,共同耕种着由村里分配给这个家族的田地,果园,收入归家族所有。依然保持着中国传统大家族的生活习俗。

自从父亲和继父死后,长子王士有掌管了"王大家子"。作为"一家之主"的王士有以身作则,尽其所能的维护这个家族的生存和发展,但这些年社会环境的变革,已使"王大家子"发生了某些微妙的变化。

电视纪录片《王大家子》以六年的时间,记录了这样一个在非农化、工业化和现代生活方式的影响下即将消亡的大家族,通过对这个家族的跟踪拍摄,展示中国传统思想与现代社会潮流的碰撞,用影像记录和保存了一种"鲜活"的中国北方民间生活。

The Story of Family Wang,72min, by Zhou Yu (China).

There is a family Wang at Shanjia village, Yangjia town, Wafangdian city, Liaoning province of China. The almost 90 years old Qu Jingying survived two husbands and brought up six children, four boys and two girls. Family Wang has five generations of nearly 70 members now. Qu is the spiritual bond of the harmonious family. The fourth son working in Tianjin does not leave the family, which holds a share of property for him. All the family members eat, live and work together and cultivate the field distributed by the village. The income of the field and orchard is collected by the family. The family keeps the customs of the traditional Chinese family.

After the death of his father and stepfather, the eldest son Wang Shiyou runs the household of family Wang. As the master of the family, Wang Shiyou tries his best to maintain and develop the family. The reform in the society these years, however, has brought some subtle changes in family Wang.

The Story of Family Wang, the television documentary records the diminishing big family under the influence of non-agricultural trend, industrialization and modern lifestyle. It is a vivid visual record of the folk life in north China by presenting the collision between traditional ideas and modern social tides.

7月30号

7月30号16:30-17:42

14. 《祖先留下的规矩》,时长94分钟,导演庞涛(中国)。

这是一部关于四川省凉山彝族地区习惯法研究的人类学影片。本片讲述了对一起"死给"案的调节。"死给"是彝族特有的词汇,意即以死相抗。"死给"是由民间纠纷所引发的,并会导致家族间的严重冲突。此类案件通常要由德古(彝族民间的知识分子)运用习惯法进行调解。

2007年冬季,凉山州古里区以得村彝族姑娘海来尔果经人介绍到广东打工了,其哥哥海来尔哲知道后找到打工介绍者吉克达依要求吉克达依将尔果找回家,几次交涉未果后,海来尔哲服下农药"死给"。矛盾发展下去将愈加激化,于是不得不由德古出面进行调节······

本片记录了对这起"死给"案调解的过程,从中可以看到彝族传统习惯法在民间的运作,如德古如何运用习惯法处理民间纠纷,以及纠纷双方如何在诉求方面展开的激烈博弈。本片是从法人类学的视角来探讨"死给"现象的,揭示了国家法与习惯法在现代化过程中的互动。

The Rules from Ancestors,94min, by Pang Tao (China).

This is an anthropological film about the customary law of the Yi people in Liangshan Prefecture, Sichuan Province.

The film tells about the folk mediation for the case of "death strike". The term of "death strike" is peculiar to the Yi people. It means to commit suicide as a protest, which results from folk dispute and will cause a serious conflict between different clans. Usually, such cases need to be mediated in terms of the customary law, with the degu, the folk intellectuals of the Yi, as the mediators. The film records the process of mediation for a case of "death strike" in a Yi village. We can see in it the operation of the traditional customary law among the Yi folks, for examples, how the degu deals with the folk disputes with the customary law, and how the conflicting parties argue with each other in their appeals.

The film approaches the "death strike" in the way of legal anthropology, and reveals the interaction between the state law and the customary law in the process of modernization.

7月30日10:05-10:35

15.《离开故土的依咪》(又名祖母房的故事),时长28分钟,导演尔青(中国)。

位于四川省与云南省之间,有个古老的摩梭村落,名叫里家咀,在这里每个大家庭都拥有一个依咪(祖母房),它是摩梭家庭中最神圣的部分,是每个摩梭人生老病死、举行所有重要仪式的场所,是整个家庭饮食、待客、议事、祭祀、敬神的地方。由于路通了,电来了,各种各样的朋友也来了,不同的故事也就发生着……

一些外国人来到偏僻的摩梭山村,看上了品初家的依咪(祖母房),并要求购买,搬到北京办展览。为了宣传摩梭文化,品初答应把祖辈传下来的祖母房卖给她们,由此而产生的各种冲突让品初内心陷入矛盾之中。如何来保护传统文化,不同文化背景的人有不同的解释。

The Story of Yi Mi (Granny's house), 28min, by Er Qing (China).

There is an ancient Mosuo village named Lijiaju in the mountains between Sichuan and Yunnan province. Every household in the village has a YiMi (Granny's living room), a holy place for a Mosuo family in which the family members hold all the important ceremonies such as: giving a birth, holding a funeral. It is also a place for meals, entertaining guests, family meetings, and different worship ceremonies. With the development of the society, this place attracts tourists from all over the world and they brought different stories.

Some foreigners came to the remote village to buy the YiMi of PinChu's to hold an exhibition in BeiJing. To make the MoSuo culture more well-known, PinChu agreed to sell them the YiMi, which was passed down from generations to generations. However, the following coflicts made him feel heavy-hearted. How to protect the traditional culture? People with different backgrounds have different opinions.

7月30日10:50-11:50

16.《我们的院子》,时长60分钟,导演Frode Storoa(挪威)、和渊(中国)。

杨曾经与他的两个叔叔生活在祖传的老宅子里, 历经沧桑。改革开放以来,法制得到恢复和逐渐改善,许多中国人正在寻求更好的生活条件。老年的杨现在有机会回购一部分他的老宅院。与此同时,杨的儿子梦想在湖边建设一个庭院。这部纪录片打开了杨祖传的庭院的大门,随着他们回忆过去展望未来,揭示了家庭的生活和感情,确保他们以及杨未来的子孙都能够在这个家庭中繁衍生息。

Our Courtyard, 60min, by Frode Storoa (Norway), He Yuan (China).

Yang used to live with his two uncles in his ancestral courtyard home. Today in post-Reform China's market economy, property rights have been restored and many Chinese are seeking to better their living conditions. The aging Yang now has the opportunity to buy back a portion of his family courtyard. At the same time, Yang's son dreams of building a courtyard home by the lake. This documentary opens the gate to the Yang ancestral courtyard and sheds light on the lives and emotions of the family as they look into the past and towards the future for guidance on how to secure a home in which they and the future generations of Yangs can continue to prosper.

7月30日13:00-13:35

17.《火把节》,时长35分钟,导演嘉日姆几(中国)。

火把节在每年的阴历六月二十四日进行,是彝语支民族的共同节日,这些民族包括彝族,白族,哈尼族,傈僳族,纳西族,拉祜族等,每年欢度此节日的人至少也在2000万人以上。

火把节对于彝族人来说,是融个体、家庭、亲人、社区为一体的年复一年的精神回归,整个节日始终贯穿着宗教仪式的洗礼、亲情的深化和友谊的重组;这个节日除了祭祀,祈祷,娱乐等功能外,还承担着平衡人与自然、人与社会责任;这也是彝族人用自己的方式祈祷世界和平,安宁的伟大节日。

今天,火把节在旅游经济的浪潮下发生了巨大变化,大量与文化有关的仪式被缩减,被忽略。于是,我产生了拍摄火把节的想法,并最终完成了第一部全程纪录的《火把节》。

《火把节》选择了一个普通的家庭来组织火把节的叙事与空间,而所有的拍摄和剪辑都是长期田野研究的结果,为了补充影视在表述方面的局限,我们还附加了六万多字的田野报告来完善对火把节的理解。

The Torch Festival, 35min, by Jiarimuji (China).

Torch Festival is celebrated on lunar 24th June every year. It is shared by ethnic groups from Yi language branch, including Yi, Bai, Hani, Lisu, Naxi, Lahu, etc. At least 20,000,000 people celebrate it every year. Among these ethnic groups, Yi people with the population of over 7,000,000 have the deepest passion on torch festival. Torch festival is a repeated spiritual identification combining individual, family, relatives with community. The whole process is impenetrate with baptism of religious rituals, deepening of love among relatives and recombining of friendship; In addition to functions of sacrifice, prays and entertainment, the festival still takes the responsibility of balancing the relationship of human being with nature and the society. It is also a big festival for Yi people to pray for world peace and well-being in their way.

Nowadays, the torch festival has changed much under the trend of tourist economy, and many culture-related rituals are simplified or neglected. Upon this, I came up with the idea of shooting torch festival and finally finished the first film which records the whole process of the torch festival.

7月30日13:50-15:00

18.《追寻西伯利亚萨满》,时长72分钟,导演Anya Bernstein(美国)。

本片展示了一位生活在偏远西伯利亚岛屿的土著巫医幕后的故事,他既为当地的病人做萨满仪式,也在各个景点为那些寻找"原始"的西方游客表演萨满仪式。电影在巫医和游客的相互误解中捕捉跨文化误读,这通常是滑稽的,但有时也令人不安,使得占统治地位的俄罗斯东正教会和当地萨满教传统之间的矛盾更尖锐。

同时,对苏联早期关于西伯利亚萨满的历史片段的审视为我们提出了这样一个问题:在影像之后隐藏着的东西暴露出西方浪漫主义的幻想和当地人当下正深陷其中的困境之间的鸿沟。西伯利亚萨满教长期受基督教传教士的压制,后又遭受前苏联反宗教运动的冲击,在前苏联解体后经历了前所未有的复苏,巫师人数持续上升。但这些新的巫师又是谁呢?变戏法的人?魔术师?巫医?或仅仅是聪明的商人,从那些容易上当的、天真的游客手中获得金钱。

In Pursuit of the Siberian Shaman, 72min, by Anya Bernstein (USA),

This film takes a behind-the-scenes look at an indigenous shaman living on a remote Siberian island as he moves between intimate shamanic rituals performed for local clientele and shows performed at various resorts for Western tourists in search of "primitive" cultures. The film captures cross-cultural miscommunication as the shaman and tourists misunderstand one another, usually comically, sometimes disturbingly, made all the more poignant by conflict between the dominant Russian Orthodox Church and the local shamanic tradition.

Meanwhile, a close look at the early Soviet archival footage of Siberian shamans raises questions about what remains hidden behind the cinematic image, exposing the gap between Western romantic fantasies and the actual plight suffered by contemporary indigenous peoples. Long suppressed by Christian missionaries and then by Soviet anti-religious campaigns, Siberian shamanism has experienced an unprecedented revival following the collapse of the Soviet Union, and the number of shamans continues to rise. But who are these new shamans? Are they tricksters? Magicians? Witch-doctors? Or are they simply clever businessmen out to make a buck on a na?ve and gullible tourist trade?

7月30日15:30-16:00

19.《驼殇》,时长30分钟,导演照那斯图(中国)、毕力格(中国)、特木尔夫(中国)。

内蒙古阿拉善地区被誉为中国双峰驼之乡。上世纪末这里的双峰驼数量曾达到25万峰。但由于自然环境的恶化和其他种种原因,目前阿拉善双峰驼仅剩6万峰。为了保护这一濒临灭绝的物种,牧民额尔登达来没有放弃牧养骆驼,他家的白色骆驼日渐增多。

故事从牧民额尔登达来在家中举办的一百峰骆驼庆典展开。公骆驼"白旋风"的权威在庆典的驼赛上遇到了挑战。"白旋风"和小公驼赛跑时,不慎摔倒,被小公驼压断了后腿。尽管有人劝额尔登达来把"白旋风"卖掉,但他始终没有放弃。在额尔登达来一家人精心护理下,终于使"白旋风"站了起来。

该片解说了人与自然、人与动物和谐共存,特别是蒙古族牧人那种钢铁般的意志,苍天般的胸怀和他们深深的爱心。

The Sorrow of the Camel, 30min, by Zhaonasitu(China), Bilige(China), Temuerfu(China).

This documentary THE SORROW OF THE CAMEL is telling about a true story which happened under the background like this: the Alasha area in Inner Mongolia is known as "the hometown of Chinese two-humped camels". The number of the Alasha two-humped camels was 250 thousand in the end of last century. However, there are only 60 thousand left at present due to many different reasons such as the environmental degradation. In order to protect this endangered animal, Chinese government classified two-humped camel as the national protected livestock in 2001. Under the extreme hard living circumstance, Erdendalai, a herdsman, has never given up raising the Alasha two-humped camels. And he owns 100 white two-humped camels now.

Erdendalai hosts a celebration at home to celebrate the amount of his white two-humped camels has come to 100 and to show the power and prestige of "White Whirlwind", the greatest stud camel of his. However, just at the beginning of this celebration, "White Whirlwind" encounters a challenge-another little breeding camel wants to compete with him. And unfortunately, as the result of this competition, the hind legs of "White Whirlwind" are broken. Nevertheless, after the proper treatment and the painstaking care of the Erdendalai's, "White Whirlwind" stands up again at last. Camels mean a lot to herdsmen, they are not only the financial resources, but also an important part of herdsmen's spiritual world.

7月30日18:00-22:00

20.《搬迁:最后的洞穴村落》,时长180分钟,导演郝跃骏(中国)。

这部纪录片是《山洞里的村庄》(1995年)之后,作者再次对这个村庄所做的长达两年的影像观察。作品讲述了一个深藏在洞穴里的同一个村庄、同一些人物,在不同时内发生的不同的故事,是为《山洞里的村庄》的续集。

当这个村庄通电五年以后,一个再次打破了村里宁静的消息又从省城传来。洞穴村落在延续了二百多年后的一天,当地政府一个"搬迁工作小组"奉命来到这里,他们要求村民们限期搬出生存条件日趋恶化的山洞。于是,这个世界上最大的洞穴村落又开始动荡了起来,一系列围绕搬迁的冲突开始出现,围绕着整个村庄的搬迁,出现了本片所纪录的一系列曲折、复杂而感人的故事。

Relocation: The Last Cave Village, 180min, by Hao Yuejun (China).

After A Village in A Cave (1995), the filmmaker spent two years doing fieldwork in this cave village again and made this documentary series. The film tells about a different story of the same people of this hidden village. It is a follow-up interview of A Village in A Cave.

Five years after electricity was supplied to this village, an information from the province, once again, broke the silence of the village. A 'Relocation Working Group' from the local government came and asked the villagers to move out of the bad-conditioned cave they have been living for more 200 years for generations. Consequently, in this biggest cave village in the world, a series of conflicts and stories on relocation occurred. Surrounding the relocation, the film presents a complicated and impressive story occurred in this cave village.

With an entire event, the film describes the culture, the living style, politics and social development of a Chinese rural area, and records the evolution of this Chinese rural society.

7月31日

7月31日8:00-8:23

21.《埃塞俄比亚旅馆11号房间》时长23分钟,导演Itsushi Kawase(日本)。

影片旨在通过住在埃塞俄比亚贡德尔(Gondar)街头的两个流浪儿与日本的影片作者Itsushi Kawase之间互动的见证来表达关于两个孩子生活的一种感受。虽然影片是关于流浪儿的街头生活的,但整部电影均在作者的电影是在电影制作人位于贡德尔皮阿萨(Piassa)的埃塞俄比亚旅馆房间中拍摄的。有限的空间使影片得以聚焦两个孩子与作者之间的交流,也揭示了一些使得他们能够在街道上忍耐并生存下去的想法。影片更像是敏感的证词,而非一部科学纪录片。通过混合多种方法,影片作者希望探索影视人类学涉及亲密性和主观性的新趋势。

Room 11, Ethiopia Hotel, 23min, by Itsushi Kawase (Japan).

This film aims to capture a sense of the life of children living on the street in Gondar, Ethiopia by witnessing the interaction between two children and the Japanese film-maker, Itsushi Kawase. Although it is about the children's life on the streets, the entire film was shot in the film-maker's room in the Ethiopia Hotel in Piassa, Gondar. This limited space allows the film to focus on communication between two kids and film-maker and to reveal some of the ideas that enable them to endure and survive on the streets. This film is more a sensitive testimony than a scientific documentary. Through its hybrid approach, the film-maker aims to explore new trends in visual anthropology touching upon intimacy and subjectivity.

7月31日8:40-9:36

22.《家族》(又名《双凤辞典》),时长56分钟,导演贾丁(中国)。

双凤村是湖南湘西的一个土家族寨子,寨子里的村民几乎全部姓彭,彭氏家族经过几百年的繁衍,分成大房、二房、三房三个分支,其中大房人少,二房和三房则在村里人多势众。

按照土家族传统,家族要定期举办祭祖的活动,祭祀需要一名主持,二房长者和三房长者互相竞争起来。恰逢此时,村里开始了两年一度的村民选举,寨子里的老人们为祭祖发生了矛盾,两房的年轻人也都对村长的职位跃跃欲试。

"The Family" (Also called "The Dictionary of Shuangfeng")

Shuangfeng village, a Tujia nationality stockaded village, is located in the western Hunan Province, China. The first name of almost all the villagers in the stockaded village is PENG. After several hundred years' development, the family is divided into three offsets, called Dafang, Erfang and Sanfang, respectively. Dafang and Erfang are dominant in the village, and Dafang is subordinate because of its less people.

According to the traditions of Tujia nationality, the family should hold the fete ceremony according to their schedule. A president is needed on the ceremony, then the older people of Erfang and Sanfang began to compete with each other for the president. But, exactly at the that time, democracy voting began every two years. The young people of Erfang and Sanfang were eager to run for the position of village leader.

Then, contradiction existed in the older people for the fete ceremony and in younger people for running for the leader.

7月31日10:00-11:45

23.《生活在金三角的人们》,时长106分钟,导演王艺忠(中国)。

本片作者数年来深入金三角腹地拍摄,向观众讲述一群被大山阻隔的佤族烟农在金三角特殊的社会背景下的生存方式。

他们延续着祖上留传的刀耕火种耕作方式,播种着罂粟、玉米和谷子。他们只知道大烟可以换成钱,却不知道用其炼制的海洛因在全世界造成了多大的危害。

他们靠祭鬼神来消灾免难、祈求丰收;靠魔巴驱魔、吸食鸦片来治疗疾病。以至于形成了"小病靠大烟,大病靠魔巴"习俗。

2005年当地军政府向世界宣布:"在辖区内禁种罂粟,以实现无毒源区。"并派出军队铲除了他们种植的罂粟。大烟禁种了,可世代靠种大烟换取粮食、盐巴、衣物为生的他们将何去何从?

People living in the Golden Triangle

The film displays a picture of the Wa tobacco grower who are separated by mountains struggle for survival under the special social background of the Golden Triangle and the aboriginal and mysterious life form,it carries out in a large number of little-known and visual-impacted scene which based on the source screened for many years in the hinterland of the Golden Triangle.

They extend the primitive farming methods of slash and burn, planting opium poppy, corn and valleys…They only know the poppy brings money to them but don't know the diamorphine made from the opium poppy has done harm to the whole world.

They vainly attempt to avoid calamities and impetrate foison by offering sacrifice to the ghosts and gods; and believe in exorcism of the koradji of MOBA and cure disease on sucking opium, thus the they have formed a habitude of "opium cures indispositions and MOBA cures serious disease ".

The local military government declared that "no planting poppy in the precinct and a realization of on narcotics" in 2005 and they expedited armies to uproot the poppies. Planting poppy was forbidden, but what course the people who get food, salt and clothing on poppy to follow?


国际人类学与民族学大会(二)展播电影简介

1. 《蜕变》,时长119分钟,导演杨干才、王毅(中国)。

曼蚌小寨的阿卡人世代从事游耕业,然而现在世界变化了。他们从刀耕火种到开田种水稻;从茅草干栏到住进新式瓦房,从使用"明子"照明,到家家拉线用电灯。特别是通电,再加上边防小路通车,使他们跨入了"现代文明"。短短三年,新的外在生活方式对阿卡人自身的文化、信仰、观念产生了巨大的冲击。他们渴望获得新的生活,却又对快速来临的一个个新事物不知所措,寨老们困惑不已,曼蚌小寨的阿卡人也充满迷茫。

Transformation

A group of people calling themselves Akhas live in the tropical forest of Yunnan on the border of China and Myanmar.

In 1994, twins were born. Considered a bad sign, the group also had to coop with an outbreak of malaria and typhoid fever. Ancestral teachings were clear: in order to expel evil, the twins had to be killed and the entire village had to move.

In 1996, this group of people settled down in Manbang with the help of the government. Without telephone lines, electricity, roads or tv cables, they lived their traditional life in complete isolation.

In 2001, a small border patrolled road connected the settlement with the outside world.

'Transformation' is about the group of Akhas that settled in Manbang. It tells about their lives, marriages and burials, births and deaths, disease and work over a period of 4 years: from October 2001 to October 2004. It tells about swiddening or slash-and-burn agriculture: the process of clearing the mountains, planting dry rice and finally cultivating rice paddies. It tells about the demolition of their traditional houses and the construction of new ones with asbestos roofs. It shows the evolution from 'lightning with resin' to electric bulbs.

In the three their world has changed completely and throughout the documentary, we share in their joy and hardship, their poverty and cheerfulness, their hopes for a better life and feelings of fears and insecurity. The makers of the documentary, husband and wife, have selected 'Transformation' out of 5000 minutes of film, made between 2001 and 2004.

2. In Pursuit of the Siberian Shaman,时长72分钟,导演Anya Bernstein(美国)。

This film takes a behind-the-scenes look at an indigenous shaman living on a remote Siberian island as he moves between intimate shamanic rituals performed for local clientele and shows performed at various resorts for Western tourists in search of "primitive" cultures. The film captures cross-cultural miscommunication as the shaman and tourists misunderstand one another, usually comically, sometimes disturbingly, made all the more poignant by conflict between the dominant Russian Orthodox Church and the local shamanic tradition.

Meanwhile, a close look at the early Soviet archival footage of Siberian shamans raises questions about what remains hidden behind the cinematic image, exposing the gap between Western romantic fantasies and the actual plight suffered by contemporary indigenous peoples. Long suppressed by Christian missionaries and then by Soviet anti-religious campaigns, Siberian shamanism has experienced an unprecedented revival following the collapse of the Soviet Union, and the number of shamans continues to rise. But who are these new shamans? Are they tricksters? Magicians? Witch-doctors? Or are they simply clever businessmen out to make a buck on a na?ve and gullible tourist trade? The film explores this phenomenon in a region of Siberia seldom captured on film that has remained an outpost of shamanism in the Mongol world since the times of Genghis Khan.

3.《守望》,时长52分钟,导演高国栋、段建国(中国)。

波溢泗是怒族有名的民间艺人,他们一家祖祖辈辈就生活高黎贡山上的鲁门寨。波溢泗念过初中,去过昆明、上海等大城市表演怒族的"哦得得"。他是村里有文化并见过大世面的人。他一直试图用自己的知识和见识改变家庭尤其是三个女儿的命运,然而,由于各种条件的限制,女儿并没能通过读书改变命运,最终只能依赖婚姻走出大山。女儿们陆续出嫁了,传授"哦得得"技艺的父亲也离开了人世,大山里只剩下波溢泗和妻子以及年过百岁的母亲。波溢泗的内心有些孤独,但是他一直没有放弃改变生活的努力,在高山上开了一家小卖店。他还有一个最大的愿望,那就是在村里组建一个"哦得得"表演队,他希望这门在怒族传承了千年的民间艺术形式不要失传·····

Watchers of the Mountains

On the Gaoligong Mountain, along the Nu River Valley in Yunnan Province, lives the Nu nationality--- one of the small ethnic group in China. They have been struggled to survive under the adverse natural conditions for generations. In 1992, we went to Gaoligong Mountain for the first time and got to know Boyisi and his family. We then started this documentary shooting based on their living conditions during the 15 years of time span. Boyisi is a famous folk artist of Nu nationality. His family has been living in Lumen Village for generations. Boyisi is a middle school graduate and has been to the big cities like Kunming and Shanghai to perform his Nu folk dance "ODD". He is the educated man in the village and has been around. He has been trying to change the destiny of both his family and daughters by means of his knowledge and experience. However, owning to various kinds of limitation, education didn't change his daughters' destiny, they got themselves out of the mountain through the arranged marriage. With his daughters' leaving and the passing away of his father who taught him playing "ODD", Boyisi is now living on the mountain with his wife and his mother who is over 100 years old. Though he still feels lonely, he never gives up his trying to change his life. He opened a little grocery store. He still holds the biggest wish in his heart to organize an "ODD" performance team in the village. He wishes that the folk art which has been passed down for generations can go on forever……

4.《家族》(又名《双凤辞典》),时长56分钟,导演贾丁(中国)。

双凤村是湖南湘西的一个土家族寨子,寨子里的村民几乎全部姓彭,彭氏家族经过几百年的繁衍,分成大房、二房、三房三个分支,其中大房人少,二房和三房则在村里人多势众。

按照土家族传统,家族要定期举办祭祖的活动,祭祀需要一名主持,二房长者和三房长者互相竞争起来。恰逢此时,村里开始了两年一度的村民选举,寨子里的老人们为祭祖发生了矛盾,两房的年轻人也都对村长的职位跃跃欲试。

"The Family" (Also called "The Dictionary of Shuangfeng")

China is the kind of county comprised of families. The family organization in China has a history lasting about 3000 years. Family shows special effects on the society.

Shuangfeng village, a Tujia nationality stockaded village, is located in the western Hunan Province, China. The first name of almost all the villagers in the stockaded village is PENG. After several hundred years' development, the family is divided into three offsets, called Dafang, Erfang and Sanfang, respectively. Dafang and Erfang are dominant in the village, and Dafang is subordinate because of its less people.

According to the traditions of Tujia nationality, the family should hold the fete ceremony according to their schedule. A president is needed on the ceremony, then the older people of Erfang and Sanfang began to compete with each other for the president. But, exactly at the that time, democracy voting began every two years. The young people of Erfang and Sanfang were eager to run for the position of village leader.

Then, contradiction existed in the older people for the fete ceremony and in younger people for running for the leader.

The shooting of the film has lasted more than six years and the method on anthropologic was used in the shooting.

The film was finished in 2006, and lasts 56 minutes.

5.Sisters in Law,时长104分钟,导演Kim Longinotto(英国)、Florence Ayish(喀麦隆)。

This film is set in Kumba, a small town in South West Cameroon and follows the work of the popular State Counsel, Vera Ngassa, and Court President, Beatrice Ntuba. The main characters are: Amina : who takes her husband to court to end their brutal marrige; 10 year old Sonita who dares to accuse a neighbour of rape and 6 year old manka who runs away from her abusive aunt.

The film is about courage, hope, and the possibility of change

6.《甲次卓玛和她的母系大家庭》,时长84分钟,导演范志平(中国)。

甲次卓玛是彩塔家第二代的第四个女儿,生活在泸沽湖畔的一个摩梭人母系大家庭。有一年的一个偶然的机会,她离家到了昆明,使她的命运发生了巨大变化。后来,大批游客涌入,也使她的家乡泸沽湖发生了始料未及的变化。甲次卓玛是坚守母系大家庭的走婚传统,还是走出泸沽湖,投入到现代都市生活之中呢,这无疑是一个两难的抉择。

Jiacizhuoma and Her Big Maternal Family

Enchased on the mountainous border between Yunnan and Tibet is the Lugu Lake, a freshwater lake with an elevation of 2,700 meters. The Mosuo, an ethnic group living in the lakefront area, still maintains its maternal society. In such a society, neither men nor women are married in the conventional way and both the family names and properties are inherited maternally.

Jiacizhuoma is the forth daughter of the second generation of the Caitas'. By an unexpected opportunity in 1983, Jiacizhuoma left her big and warm maternal family for Kunming and has been working there since. At the same time, the continuous inburst of tourists started to trigger irreversible changes in Jiacizhuoma's Lugu Lake. Now Jiacizhuoma is facing a dilemma: Should she stick on to her ancient maternal tradition and return to the Lugu lake or move forward to dive into the modern life of a big city?

This documentary was filmed from 1994 to 2005. Through the ten years' persistent work, the production unit recorded Jiacizhuoma's life and the Lugu Lake's vicissitudes factually. All these facts reveal the strength and tenacity of the Mosuo culture that roots deeply in Jiacizhuoma's heart and soul.

7.《打马石的家》,时长38分钟,导演周卫平(中国)。

怒族打马石家在怒江的悬崖之上住了一百年。他们在坡地上种洋芋,要在洋芋上放上一撮杂草,不然种下的洋芋会一直滚落到江底。

二十世纪九十年代以前,怒江一直处于社会的变革之外,与外界的联系也仅限于政府每年对他们的救济。他们始终相信,神灵存在于大山、大江和草丛之中。而贫瘠的土地和险峻的环境成为当地人面对的最大难题,耕地是这里人民的生命,也会因此引起诸多社会矛盾。

2000年,随着中国政府扶贫政策和实施三江并流地区生态保护政策,打马石家面临一次新的生存选择,耐人回味。

Family of Da Mashi

Nu Ethnic Group, the only minority ethnic group of Nujiang, Yunnan, China, lives in Nujiang Canyon. With deep canyon, high and steep mountains, the living conditions are extremely precipitous. The family of Da Mashi, multiplied on the cliff for 100 years, is a typical mountainous ethnic family.

Nujiang Canyon is the second largest canyon in the world only next to the Grand Canyon of the U.S. Originated in Naqu on the Qinghai-Tibet Plateau, it enters Yunnan and becomes torrential due to Yunling and Biluo Snowy Mountain; and the mountains, cut by the river, become steep and precipitous.

You can never imagine how dangerous the Nujiang River is if you are not there personally. To plant potatoes on the slope, the local people have to place a fistful of weed with the potato; otherwise it will roll down from the slope into the river. The gradient of 90% of the land cultivated by the local people is over 60°. Looking to the people working on the farmland, you will think of the wriggling insects at the horizon.

Nu people live in such environment. Nujiang had been beyond social revolution, with no contact with the outside world but the annual relief by the government until the 1990s. In addition, having been isolated for a long time, the Nu people believe that Gods exist in the mountains, rivers and brushwood.

"They have to face the nature, an enemy existing since the ancient. They have no way to get their limited cultivated land unless overcoming the infertile land and hillsides." (from An Essay on the Principle of Population by Malthus). The infertile land and precipitous environment have been the greatest problem faced by the local people. Farmland is the life of the local people as well as the origin of contradiction between the local government and people.

In 2000, with the promotion of the national poverty support policy and ecological protection policy in the Three Parallel River Area, Da Mashi's family was faced with a new option for survival. Under such background, this documentary records the life of Da Mashi from 2004 to 2007.

8.Han Xin's Revenge: A Daoist Mystery,时长100分钟,导演Patrice Fava(法国)。

The great general Han Xin, after five years of heroic battles on the side of Liu Bang, has finally defeated Xiang Yu, the powerful hegemon of Chu, thereby aiding in the rise to power of Liu Bang, who would become the Emperor Gaozu, founder of the Han Dynasty. But the emperor was jealous of Han Xin's popularity and charisma, and had him assassinated, under the pretext that he was plotting against the throne. At his death, it is said, the sky turned black and his spirit was swept up into the beyond. His apotheosis is regarded as one of the great Daoist Mysteries of the Hunan region. The history of his revenge against the emperor first became a local epic and then a liturgical drama, which the Daoists of today continue to stage. This film, the subject of which cannot be found in Daoist written sources, will be of great interest not only to Daoist specialists, but also to those who are interested in the Nuo theatrical tradition, mythology, and, of course, Chinese ritual and religion. This unique film documents a great sacrificial ceremony, known as Duchangyuan, which lasts four days and four nights. It opens the door to a totally unknown esoteric ritual tradition with a very ancient pedigree. It also reveals that Daoism remains alive in the memory of the Chinese and that Daoist Masters still play a major role in contemporary society

《韩信复仇记》

韩信为汉高祖刘邦出谋划策,灭楚霸王项羽,奠定了汉朝四百年的江山。刘邦登基之后,怕他谋反,设毒计将他暗杀。韩信在幽冥复仇雪恨,指使妖精作怪,以致刘邦病魔缠身,无药可医。全国挂榜求医。法师朱鹤,撕榜面圣,为汉高祖治病救急。他赶去龙虎山天师府请旨。天师指点 到乌风洞,请出十大都猖,捉妖除怪。十大都猖原来是巡山把界十大蛮王,被韩信前生收复,押在乌风洞内,变成十大都猖,在韩王麾下,掌管善者布福,恶者降殃之职。十大都猖把妖怪擒来,押赴法场宰杀,祭祀韩王,汉高祖病愈。

韩信的事迹成为当地史诗。自古以来,在湖南地区他被尊为道教法师最高的神明。传说,每年白露时节他在天上做十天皇帝。至今,湖南道士仍举行隆重的大法事--"还都猖大傩愿"。从"起首"到"送圣回銮",科仪四旦四夕接连不断。其间,道士演绎韩信的神话、请十大都猖捉妖,并做"太牢"祭祀韩信。

这部影片为研究道教、民俗、傩戏、宗教仪式的学者提供了生动宝贵的研究资料。

9.Schoolscapes,时长78分钟,导演David MacDougall(澳大利亚)。

Inspired by the cinema of Lumière and the ideas of the 20th century Indian thinker Jiddu Krishnamurti, David MacDougall follows up his Doon School Quintet, a series of films about a traditional school in North India, with this film about a famous progressive co-educational school in Andhra Pradesh, South India, the Rishi Valley School. Throughout his life, Krishnamurti taught that one should strive to observe more calmly and clearly the things around one. This too was how cinema began, and what excited its first audiences. This film attempts to recapture that freshness of observing the world. It is dedicated to the simple act of looking, in which each scene consists of a single shot.

10.Duka's Dilemma,时长87分钟,导演Jean Lydall(英国)。

Duka is a married woman and mother of five young children, living in Hamar, Southern Ethiopia. She welcomes her friend Kaira, daughter of anthropologist Jean Lydall, by encouraging her to make a film about herself and her family. Ever since her husband married a beautiful, young second wife, Duka has been in a state of emotional turmoil. Among the Hamar, who live with herds of cattle and goats, and cultivate small fields of sorghum in remote, bush-covered country, men are allowed to marry more than one wife, but only a few men ever do so. Duka wonders why her husband married again; did he find her too old, or was he turned off because of her chronic malaria? Also, she doesn't know what to make of Boro, the new wife, who is silent and never expresses her feelings except in rage? And on top of this, Duka's mother-in-law is angry with her son for marrying a second wife behind her back. Duka is optimistic, however, that things will improve once her co-wife gives birth. Sagonda, the mother-in-law, talks about her indispensable role whenever a daughter-in-law gives birth, and then a scene unfolds in which Boro, Duka's co-wife, goes into labour and, with the help of Duka, the mother-in-law and two other women, gives birth to a son. Marcelo Fiorini describes this scene as "some of the most stunningly powerful footage ever shot in ethnographic film." Nine months later, Duka, having given birth to yet another son, explains how well she and her co-wife are getting on with each other, but how their mother-in-law, Sagonda, is creating problems. At the naming ceremony for Duka's child a heated dispute erupts between the mother-in-law and her son, Sago. Sagonda, who suffers feelings of exclusion in her son's ménage, demands a new house, while her son complains about her drinking habits. The elders who are present resolve the dispute by recommending that Sago build a new house for his mother. The construction of a roof for this house by local men and boys both parallels and complements the birthing scene in the first part of the film. The film ends with Duka speaking to Kaira, saying, "Tell Tammo's dad he should see me in the film. May his friends and yours know it; hearing and seeing, may they like it. That's my request for the film."

11.《大河沿》,时长60分钟,导演刘湘晨(中国)。

在塔克拉玛干沙漠腹地,世代居住在大河沿的人们就叫克里雅人。

老赛地肉孜85岁了,他和他的家人在达里雅博依这个叫做奎克吉依黛(青沙枣)的地方生活了四代,即将临产的外孙女热比汗给他带来的重孙将是这个家族的第八代。

热比汗曾有过一次婚史,后认识了卡车司机斯迪克并成为他的情人。在热比汗即将临产之前,斯迪克才与原妻离婚并与热比汗办了结婚手续。带着即将出生的孩子,再加上斯迪克原来的孩子,热比汗希望自己能与斯迪克共同组成一个家。

但是,热比汗的两位舅舅认为这是一件辱没家门的事,他们不希望把这个孩子生下来。

热比汗的妈妈已有过两次失败的婚姻,她希望孩子生下来,这个外孙将是她后半生唯一的希望和寄托。

老赛地肉孜是最后一个知道外孙女怀孕的人,他没有说一句话。

在各种议论中,老赛地肉孜的重孙出生了,这是一个女孩儿。四十天后为孩子取名,老赛地肉孜托了人去找重外孙的父亲斯迪克,一边通知远近的亲戚和相熟的人来参加他重外孙的命名仪式。

在命名仪式即将举行的前一天,受托的人回到了奎克吉依黛,带回了斯迪克没找到的消息,老赛地肉孜的一家人都落了泪。老赛地肉孜重外孙的命名仪式如期举行,老人给她起了一个与伊斯兰圣地相关的名字,叫:麦地那汗。

Beside the River

This is the first audiovisual work about the Keriyans.

In the hinterland of the Taklamakan Desert, the Keriya River, rising in the Kunlun Mountains and flowing northward, forms a green corridor about 400 km long and 5 km wide. The lower reaches of the river are called Daria-boyi, which means "riverside". The people living here for generations are called the Keriyan.

Saderoz is 85 years old. He has lived with his family at the place called Kuikejiyidai (means green oleaster) in Daria-boyi for four generations. Rabiehan, his parturient granddaughter, will give birth to a baby, his great grandchild and the first member of the eighth generation of the family. However, quite a few people nearby have privately called the upcoming baby a "bastard".

Rabiehan has been married once before. Later she got acquainted with Stick, a truck driver, and became his lover. Only when Rabiehan was close to giving birth did Stick divorce his wife and marry Rabiehan. Rabiehan hopes she can have a good family with Stick, together with her upcoming baby and his child.

But, Rabiehan's two maternal uncles think this will bring disgrace to the family. They don't want the baby to be born.

Rabiehan's mother, after having undergone two failed marriages, wishes to have the baby. This grandchild will be her only hope and spiritual ballast in the latter part of her life.

Saderoz was the last one to know that his granddaughter was pregnant. He didn't speak a word about it.

The great grandchild of Saderoz is born regardless of other people's gossip. The baby is a girl. A naming ceremony should be held in the 40th day after her birth. Saderoz asks a man to find the baby's father Stick. Meanwhile, he notifies his relatives and acquaintances far and near to attend the naming ceremony of his great granddaughter.

The day before the ceremony, the man comes back with a bad news: he didn't find Stick. The Saderoz family all shed tears.

The naming ceremony is on schedule. Saderoz gives his great granddaughter a name associated with an Islamic holy site-Medinahan.

12. 《祖先留下的规矩》,时长94分钟,导演庞涛、陈景源(中国)。

这是一部关于四川省凉山彝族地区习惯法研究的人类学影片。本片讲述了对一起"死给"案的调节。"死给"是彝族特有的词汇,意即以死相抗。"死给"是由民间纠纷所引发的,并会导致家族间的严重冲突。此类案件通常要由德古(彝族民间的知识分子)运用习惯法进行调解。

2007年冬季,凉山州古里区以得村彝族姑娘海来尔果经人介绍到广东打工了,其哥哥海来尔哲知道后找到打工介绍者吉克达依要求吉克达依将尔果找回家,几次交涉未果后,海来尔哲服下农药"死给"。矛盾发展下去将愈加激化,于是不得不由德古出面进行调节······

本片记录了对这起"死给"案调解的过程,从中可以看到彝族传统习惯法在民间的运作,如德古如何运用习惯法处理民间纠纷,以及纠纷双方如何在诉求方面展开的激烈博弈。本片是从法人类学的视角来探讨"死给"现象的,揭示了国家法与习惯法在现代化过程中的互动。

The Rules from Ancestors

This is an anthropological film about the customary law of the Yi people in Liangshan Prefecture, Sichuan Province.

The film tells about the folk mediation for the case of "death strike". The term of "death strike" is peculiar to the Yi people. It means to commit suicide as a protest, which results from folk dispute and will cause a serious conflict between different clans. Usually, such cases need to be mediated in terms of the customary law, with the degu, the folk intellectuals of the Yi, as the mediators. The film records the process of mediation for a case of "death strike" in a Yi village. We can see in it the operation of the traditional customary law among the Yi folks, for examples, how the degu deals with the folk disputes with the customary law, and how the conflicting parties argue with each other in their appeals.

The film approaches the "death strike" in the way of legal anthropology, and reveals the interaction between the state law and the customary law in the process of modernization.

13.《驼殇》,时长30分钟,导演照那斯图、毕力格、特木尔夫(中国)。

内蒙古阿拉善地区被誉为中国双峰驼之乡。上世纪末这里的双峰驼数量曾达到25万峰。但由于自然环境的恶化和其他种种原因,目前阿拉善双峰驼仅剩6万峰。为了保护这一濒临灭绝的物种,牧民额尔登达来没有放弃牧养骆驼,他家的白色骆驼日渐增多。

故事从牧民额尔登达来在家中举办的一百峰骆驼庆典展开。公骆驼"白旋风"的权威在庆典的驼赛上遇到了挑战。"白旋风"和小公驼赛跑时,不慎摔倒,被小公驼压断了后腿。尽管有人劝额尔登达来把"白旋风"卖掉,但他始终没有放弃。在额尔登达来一家人精心护理下,终于使"白旋风"站了起来。

该片解说了人与自然、人与动物和谐共存,特别是蒙古族牧人那种钢铁般的意志,苍天般的胸怀和他们深深的爱心。

The Sorrow of the Camel

This documentary THE SORROW OF THE CAMEL is telling about a true story which happened under the background like this: the Alasha area in Inner Mongolia is known as "the hometown of Chinese two-humped camels". The number of the Alasha two-humped camels was 250 thousand in the end of last century. However, there are only 60 thousand left at present due to many different reasons such as the environmental degradation. In order to protect this endangered animal, Chinese government classified two-humped camel as the national protected livestock in 2001. Under the extreme hard living circumstance, Erdendalai, a herdsman, has never given up raising the Alasha two-humped camels. And he owns 100 white two-humped camels now.

Erdendalai hosts a celebration at home to celebrate the amount of his white two-humped camels has come to 100 and to show the power and prestige of "White Whirlwind", the greatest stud camel of his. However, just at the beginning of this celebration, "White Whirlwind" encounters a challenge-another little breeding camel wants to compete with him. And unfortunately, as the result of this competition, the hind legs of "White Whirlwind" are broken. Nevertheless, after the proper treatment and the painstaking care of the Erdendalai's, "White Whirlwind" stands up again at last. Camels mean a lot to herdsmen, they are not only the financial resources, but also an important part of herdsmen's spiritual world.

14.《思念之城》,时长101分钟,导演李靖惠(中国台湾)。

《思念之城》以冬天的情境为背景,影片描绘老人住在安养院的生活,刻画了老人之间的情谊、恋爱与婚姻故事,以及对家人无尽的思念。这些老人家年龄分布在七十岁至九十岁之间,多数历经烽火战乱的人生,由这些分别唱着国语、台语、日语歌谣的年长女性们,亲托出台湾社会变迁的时空背景之下,年长女性的婚姻样貌与命运,而捕捉安养院里正在发生的爱情故事,则为本片增添更动人的情感。

台北的冬天,冷瑟的空氣、灰灰的天空、綿綿的雨;生命的冬天,慘淡的生活交錯與美麗的回憶交疊。透?"鏡?",安養院的老人們,緩緩訴說生命的風景,原來愛情是恆常的珍寶,苦澀與甜美交錯。在真實與魔幻交錯的空間裡,乾渴的身軀冉冉升起無盡的思念,在燈火明滅的城市中,誰能知道我…?"《家在何方》、《阿嬤的戀歌》之後,本影片為作者【女性家國紀錄片】之第三部曲。

City of Memories

is the third documentary in the tetralogy "The Realm of Womenhood," after "Where is My Home?" and "The Ballads of Grandmothers." The film depicts the lives of elderly people living in a nursing home: their agony, longing and loneliness. Through the visuals of the film, they gradually illustrate a painting of their life. Love is after all an everlasting treasure intertwined in bittersweet sorrow. Caught in the space between dream and reality, images of wintry Taipei, with its drizzling rain, and the gloomy sky reflect fading minds of these aged women.

The film depicts the life of the elderly people under this facility and illustrates the friendship and interaction between these seniors and their longing for the companionship of their family. Other than capturing the life of these elderly people, the subjects' love story and marital experience will also be the focus of the film. The age group of these people is between 70 and 90. They have lived through the turmoil of war. With their background and the history of the political situations in Taiwan, the film attempts to describe the ongoing love story and fate of these women to add a moving emotion to the film.

15.Koriam's Law and the Dead Who Govern,时长110分钟,导演Gary Kilde(澳大利亚)、Andrea Simon(美国)。

In Koriam's Law Australian anthropologist Andrew Lattas engages with with philosopher-informant Peter Avarea of Matong village, Pomio, Papua New Guinea. Through their impassioned dialogue they uncover the cosmology behind the much misunderstood cultural phenomenon: the Pacific "cargo-cult".

The Pomio Kivung Movement was founded in 1964 by Michael Koriam Urekit. In the face of official condemnation its political and religious philosophy sought to uncover the path to that perfect existence which whites seemed to have found - or been given - and selfishly monopolised.

Kivung leaders scrutinised the revelations of missionaries for hidden truths and codes. They examined, too, forms of colonial governance - especially money and bureaucracy - for clues to the source of their power. Koriam's central question was how to find a way back from the original ancestral fault that put his people in this subjugated state in the first place. The Kivung incorporated and localised parts of the Christian tradition whilst seeking an ever closer embrace of the beloved dead, inducing and imploring them to hasten their return so that the deprivations and humiliations of racial inequality might end. In the mean time, the twin organs of white power - Mission and Government - needed to be carefully and cleverly propitiated.

Koriam's Law concerns itself with the contemporary works and cosmological understandings of the Pomio Kivung. Its leaders are keen to show that the movement has nothing to do with 'waiting for cargo'. Rather, its crucial mission is to prepare the way for the coming 'change' and, at the same time, to organise for a better society in the here and now.

16.《离开故土的依咪》(又名祖母房的故事),时长28分钟,导演尔青(中国)。

位于四川省与云南省之间,有个古老的摩梭村落,名叫里家咀,在这里每个大家庭都拥有一个依咪(祖母房),它是摩梭家庭中最神圣的部分,是每个摩梭人生老病死、举行所有重要仪式的场所,是整个家庭饮食、待客、议事、祭祀、敬神的地方。由于路通了,电来了,各种各样的朋友也来了,不同的故事也就发生着……

一些外国人来到偏僻的摩梭山村,看上了品初家的依咪(祖母房),并要求购买,搬到北京办展览。为了宣传摩梭文化,品初答应把祖辈传下来的祖母房卖给她们,由此而产生的各种冲突让品初内心陷入矛盾之中。如何来保护传统文化,不同文化背景的人有不同的解释。

The Story of Yi Mi (Granny's house)

Some foreigners came to the remote village to buy the YiMi (Granny's living room) of PinChu's to hold an exhibition in BeiJing. To promote the MoSuo culture, Athough PinChu promised to sell them the YiMi, which was passed down from generations to generations, he feels heavy-hearted. How to protect the traditional culture? People with different backgrounds have different opinions.

There is an ancient Mosuo village named Lijiaju, located in the mountains between Sichuan and Yunnan province. Every household has a YiMi, a holy place for a Mosuo family in which the family members hold all the important ceremonies such as: giving a birth, holding a funeral.

It is also a place for meals, entertaining guests, family meetings, and different worship ceremonies. With the development of the society, this place attracts tourists from all over the world and they brought different stories.

17.《生活在金三角的人们》,时长106分钟,导演王艺忠(中国)。

本片以作者数年来深入金三角腹地拍摄,向观众讲述一群被大山阻隔的佤族烟农在金三角特殊的社会背景下的生存方式。

他们延续着祖上留传的刀耕火种耕作方式,播种着罂粟、玉米和谷子。他们只知道大烟可以换成钱,却不知道用其炼制的海洛因在全世界造成了多大的危害。

他们靠祭鬼神来消灾免难、祈求丰收;靠魔巴驱魔、吸食鸦片来治疗疾病。以至于形成了"小病靠大烟,大病靠魔巴"习俗。

2005年当地军政府向世界宣布:"在辖区内禁种罂粟,以实现无毒源区。"并派出军队铲除了他们种植的罂粟。大烟禁种了,可世代靠种大烟换取粮食、盐巴、衣物为生的他们将何去何从?

People living in the Golden Triangle

The film displays a picture of the Wa tobacco grower who are separated by mountains struggle for survival under the special social background of the Golden Triangle and the aboriginal and mysterious life form ,it carries out in a large number of little-known and visual-impacted scene which based on the source screened for many years in the hinterland of the Golden Triangle.

The film is a reflection of a village of the Wa people which was almost isolated, the villagers live in the shabby huts and armed with the most primitive instinct for survival, multiply and grow on the mountain of an altitude of nearly 2000 meters for generations . They extend the primitive farming methods of slash and burn, opening up land by deforestation , they work from sunset to sundown, planting opium poppy, corn and valleys…while gain nothing but poverty year after year.

They don't know is the diamorphine which made from the opium poppy harm to the world but know the poppy brings money to them. They only want to dress warmly and ear their fill on planting the opium poppy. They vainly attempt to avoid calamities and impetrate foison by offering sacrifice to the ghosts and gods; and believe in exorcism of the koradji of MOBA and cure disease on sucking opium, thus the they have formed a habitude of "opium cures indispositions and MOBA cures serious disease ". They have been not able to get rid of the addiction of the opium…. The local military government declared that "no planting poppy in the precinct and a realization of on narcotics" in 2005, and they expedited armies to uproot the poppies. Planting poppy was forbidden, but what course the people who get food, salt and clothings on poppy to follow?

18.《王大家子》,时长72分钟,导演周羽(中国)。

在中国辽宁省瓦房店市杨家乡单家村,有一个在当地被称作"王大家子"的大家族,年近九旬的曲敬英老人早年两度丧夫,含辛茹苦地将四男两女,六个孩子拉扯长大,繁衍成今天五世同堂,近七十人的大家族,老人一直是维系着这个家族团结和睦的精神支柱。虽然四儿子离家远在天津工作,可家并没有分,家里还保留着他的一份财产。全家人同吃同住同劳动,共同耕种着由村里分配给这个家族的田地,果园,收入归家族所有。依然保持着中国传统大家族的生活习俗。

自从父亲和继父死后,长子王士有掌管了"王大家子"。作为"一家之主"的王士有以身作则,尽其所能的维护这个家族的生存和发展,但这些年社会环境的变革,已使"王大家子"发生了某些微妙的变化。

电视纪录片《王大家子》以六年的时间,记录了这样一个在非农化、工业化和现代生活方式的影响下即将消亡的大家族,通过对这个家族的跟踪拍摄,展示中国传统思想与现代社会潮流的碰撞,用影像记录和保存了一种"鲜活"的中国北方民间生活。

Patriarchal clan systems have thousands of years of history in China. In a traditional family, all the members live together and share the property. Each clan is a small society and the seniority is the master of the clan. The seniority has enjoyed great prestige in the clan society in China, which holds the patriarchal clan rules to be filial.

There is a family Wang at Shanjia village, Yangjia town, Wafangdian city, Liaoning province in north China. The almost 90 years old Qu Jingying survived two husbands and brought up six children, four boys and two girls. Family Wang has five generations of nearly 70 members now. Qu is the spiritual bond of the harmonious family. The fourth son working in Tianjin does not leave the family, which holds a share of property for him. All the family members eat, live and work together and cultivate the field distributed by the village. The income of the field and orchard is collected by the family. The family keeps the customs of the traditional Chinese family.

After the death of his father and stepfather, the eldest son Wang Shiyou runs the household of family Wang. As the master of the family, Wang Shiyou tries his best to maintain and develop the family. The reform in the society these years, however, has brought some subtle changes in family Wang.

The Story of Family Wang, the television documentary records the diminishing big family under the influence of non-agricultural trend, industrialization and modern lifestyle. It is a vivid visual record of the folk life in north China by presenting the collision between traditional ideas and modern social tides.

UNESCO proclaimed the concept of "masterpieces of the oral and intangible heritage" in 1997. The seventh session of the International Council of Museums in Asia Pacific Region approves the Shanghai Charter on Museums, Intangible Heritage and Globalization in October, 2002. It states clearly that the voice, value, traditions, languages, oral history and folk life shall be recognized and promoted in museums and heritage protection. The intangible heritage is a "live" presentation of the individuality and aesthetics of a nation, a distinction of individual people, the motivation and source to maintain and develop the nation. The intangible heritage is more fragile than the tangible one, especially in the industrialization of the developing countries and the impact of globalization. The intangible heritage is facing the austere phenomenon of diminishing rapidly. To some extent, the disappearance of intangible heritage means the disappearance of cultural diversity. Fortunately, the historical intelligence of human beings has aroused the consciousness to protect the intangible heritage. The UN proclaimed 2002 as the United Nations Year for Cultural Heritage. The UNESCO proposed to save the oral and intangible heritage. (I personally think that the most important is to record and preserve the heritage.)

The Story of Family Wang and the life of Qu Jingying is a representation of the intangible heritage. The life style of family Wang is of extraordinary value in many viewpoints of history, ethnography, sociology, anthropology, linguistics and literature. It is predictable that the family Wang and its life style will disappear with the death of Qu Jingying. What can we do to the non-regeneratable humane culture?

Record leaves vivid mark for the Chinese nation;

Presentation let the changing China known to the nation and the world;

Preservation set up typical model for the future scholars.

The Story of Family Wang, the television documentary will follow Qu Jingying and her family Wang for the above reasons.

19.Every Good Marriage Begin with Tears,时长62分钟,导演Simon Chambers(英国)。

London Muslim girl Shahanara is changing from pink hot pants into a sari to meet her husband at the airport. She has only met him once before, when she was married in a union arranged by her Bangladeshi family. Shahanara only agreed to the marriage to try and heal old wounds with he father, who had banished her from her family for he Western ways. Meanwhile her devout Muslim sister Hashnara is being groomed for he own arranged marriage, something that at 19 she does not feel at all ready for.

21.Our Courtyard,时长60分钟,导演Frode Storoa(挪威)、和渊(中国)。

Yang used to live with his two uncles in his ancestral courtyard home until the Land Reform swept the country in the 1950's. As a result of the collectivization that ensued, his uncles were assigned 'landlord' class status, stripped of their property rights and evicted. Because he enjoyed 'middle peasant' status, Yang was allowed to stay. However, he was force to share the Yang clan courtyard with three poor peasant families, and has been living with them ever since.

Today in post-Reform China's market economy, property rights have been restored and many Chinese are seeking to better their living conditions. The aging Yang now has the opportunity to buy back a portion of his family courtyard. At the same time, Yang's son dreams of building a courtyard home by the lake. This documentary opens the gate to the Yang ancestral courtyard and sheds light on the lives and emotions of the family as they look into the past and towards the future for guidance on how to secure a home in which they and the future generations of Yangs can continue to prosper.

21.Room 11, Ethiopia Hotel,时长23分钟,导演Itsushi Kawase(日本)。

This film aims to capture a sense of the life of children living on the street in Gondar, Ethiopia by witnessing the interaction between two children and the Japanese film-maker, Itsushi Kawase. Although it is about the children's life on the streets, the entire film was shot in the film-maker's room in the Ethiopia Hotel in Piassa, Gondar. This limited space allows the film to focus on communication between two kids and film-maker and to reveal some of the ideas that enable them to endure and survive on the streets. This film is more a sensitive testimony than a scientific documentary. Through its hybrid approach, the film-maker aims to explore new trends in visual anthropology touching upon intimacy and subjectivity.

22.《火把节》,时长35分钟,导演嘉日姆几(中国)。

火把节在每年的阴历六月二十四日进行,是彝语支民族的共同节日,这些民族包括彝族,白族,哈尼族,傈僳族,纳西族,拉祜族等,每年欢度此节日的人至少也在2000万人以上。

火把节对于彝族人来说,是融个体、家庭、亲人、社区为一体的年复一年的精神回归,整个节日始终贯穿着宗教仪式的洗礼、亲情的深化和友谊的重组;这个节日除了祭祀,祈祷,娱乐等功能外,还承担着平衡人与自然、人与社会责任;这也是彝族人用自己的方式祈祷世界和平,安宁的伟大节日。

今天,火把节在旅游经济的浪潮下发生了巨大变化,大量与文化有关的仪式被缩减,被忽略。于是,我产生了拍摄火把节的想法,并最终完成了第一部全程纪录的《火把节》。

《火把节》选择了一个普通的家庭来组织火把节的叙事与空间,而所有的拍摄和剪辑都是长期田野研究的结果,为了补充影视在表述方面的局限,我们还附加了六万多字的田野报告来完善对火把节的理解。

The Torch Festival

Torch Festival is celebrated on lunar 24th June every year. It is shared by ethnic groups from Yi language branch, including Yi, Bai, Hani, Lisu, Naxi, Lahu, etc. At least 20,000,000 people celebrate it every year. Among these ethnic groups, Yi people with the population of over 7,000,000 have the deepest passion on torch festival. Torch festival is a repeated spiritual identification combining individual, family, relatives with community. The whole process is impenetrate with baptism of religious rituals, deepening of love among relatives and recombining of friendship; In addition to functions of sacrifice, prays and entertainment, the festival still takes the responsibility of balancing the relationship of human being with nature and the society. It is also a big festival for Yi people to pray for world peace and well-being in their way.

Nowadays, the torch festival has changed much under the trend of tourist economy, and many culture-related rituals are simplified or neglected. Upon this, I came up with the idea of shooting torch festival and finally finished the first film which records the whole process of the torch festival.

23.《搬迁:最后的洞穴村落》,时长180分钟,导演郝跃骏(中国)。

这部纪录片是《山洞里的村庄》(1995年)之后,作者再次对这个村庄所做的长达两年的影像观察。作品讲述了一个深藏在洞穴里的同一个村庄、同一些人物,在不同时内发生的不同的故事,是为《山洞里的村庄》的续集。

当这个村庄通电五年以后,一个再次打破了村里宁静的消息又从省城传来。洞穴村落在延续了二百多年后的一天,当地政府一个"搬迁工作小组"奉命来到这里,他们要求村民们限期搬出生存条件日趋恶化的山洞。于是,这个世界上最大的洞穴村落又开始动荡了起来,一系列围绕搬迁的冲突开始出现,围绕着整个村庄的搬迁,出现了本片所纪录的一系列曲折、复杂而感人的故事。

Relocation: The Last Cave Village

After A Village in A Cave (1995), the filmmaker spent two years doing fieldwork in this cave village again and made this documentary series. The film tells about a different story of the same people of this hidden village. It is a follow-up interview of A Village in A Cave.

Five years after electricity was supplied to this village, an information from the province, once again, broke the silence of the village. A 'Relocation Working Group' from the local government came and asked the villagers to move out of the bad-conditioned cave they have been living for more 200 years for generations. Consequently, in this biggest cave village in the world, a series of conflicts and stories on relocation occurred. Surrounding the relocation, the film presents a complicated and impressive story occurred in this cave village.

With an entire event, the film describes the culture, the living style, politics and social development of a Chinese rural area, and records the evolution of this Chinese rural society.
人大人类学研究所牵头举办举办第16届世界人类学民族学大会电影节隆重举行
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