更新时间:2012-09-02
HAFF • 日本解放战线·三里塚:三里塚之夏
1968年，在日本的千叶县成田市，三里塚的农民们为了反抗无视农民权益的新东京国际机场的建设，举起了抗争的大旗。这部作品是小川摄制组“三里塚”系列的第一部（整个系列共有7部作品，耗时8年完成），它从根本上改变了日本纪录电影方法论。以这部作品为契机，小川绅介和他的摄制组逐步确立了其“定点观测”的摄影风格。在这部作品中，摄影机深入斗争内部，拍下了以青年行动队为中心，与防暴警察武装对抗的情景。小川这样讲述这部作品：“所有的镜头都是站在农民中间拍摄的，我们从农民的视角拍摄，即使是在拍警察时，我们也是从正面，从他们的对立面，拍下一切。”（摘自山形国际纪录片电影节手册）
第一，摄影机的位置，很明显地站在斗争着的农民一边。如果权力一方要来镇压，如果机动队要向农民施加暴力，那就让我们的摄影机从正面迎上去。这是通过银幕，也就是权力在和观众直接对话。第二，即使不能如我们所愿拍到理想的镜头，我们也决不使用偷拍。不是用望远镜头在对方不知情的情况下拍摄，或是藏在角落里拍摄，而是堂堂正正地从正面把摄影机拿出去，拿着摄影机参加到农民们的斗争中去。要想做到以上两点，事实上是非常困难的，但这也正是我们小川摄制组的出发点。（小川绅介）
1968—the year students and workers revolted against established authorities around the world. In Narita, Japan, residents of the farming village Sanrizuka rose up in protest against the New Tokyo International Airport Project, a project that had been decided upon without any respect to local concerns. This film is the first in Ogawa Productions’ eight-year, seven-film Narita series. It was through this series that Ogawa and Ogawa Productions established their method of filming while living with the people they were filming. The camera follows the “Youth Brigade” as they decide to use arms in their struggles against the riot police. Ogawa said about this film: “All the shots were taken from the farmers’ side, we were always amongst them, shooting from their perspective. Even when we were shooting the authorities, we shot everything; face-on and also in contrast to this.” (From the catalogue of Yamagata Int’l Documentary Film Festival)
First, the location of camera obviously stands on the same position with farmers. If the powers aim to repress and mobile teams brings farmers violence, then we took the camera in front of them. Through the screen, the audience communicate with the power. Second, even if we cannot get the ideal lens, we never use videotaping. Not shot with a telephoto lens secretly, or hid in the corner shooting, but we held the camera when participating in the struggle of farmers. In fact, it’s very difficult to achieve the above two points, but this is the starting point of Ogawa’s crew.
第一，摄影机的位置，很明显地站在斗争着的农民一边。如果权力一方要来镇压，如果机动队要向农民施加暴力，那就让我们的摄影机从正面迎上去。这是通过银幕，也就是权力在和观众直接对话。第二，即使不能如我们所愿拍到理想的镜头，我们也决不使用偷拍。不是用望远镜头在对方不知情的情况下拍摄，或是藏在角落里拍摄，而是堂堂正正地从正面把摄影机拿出去，拿着摄影机参加到农民们的斗争中去。要想做到以上两点，事实上是非常困难的，但这也正是我们小川摄制组的出发点。（小川绅介）
1968—the year students and workers revolted against established authorities around the world. In Narita, Japan, residents of the farming village Sanrizuka rose up in protest against the New Tokyo International Airport Project, a project that had been decided upon without any respect to local concerns. This film is the first in Ogawa Productions’ eight-year, seven-film Narita series. It was through this series that Ogawa and Ogawa Productions established their method of filming while living with the people they were filming. The camera follows the “Youth Brigade” as they decide to use arms in their struggles against the riot police. Ogawa said about this film: “All the shots were taken from the farmers’ side, we were always amongst them, shooting from their perspective. Even when we were shooting the authorities, we shot everything; face-on and also in contrast to this.” (From the catalogue of Yamagata Int’l Documentary Film Festival)
First, the location of camera obviously stands on the same position with farmers. If the powers aim to repress and mobile teams brings farmers violence, then we took the camera in front of them. Through the screen, the audience communicate with the power. Second, even if we cannot get the ideal lens, we never use videotaping. Not shot with a telephoto lens secretly, or hid in the corner shooting, but we held the camera when participating in the struggle of farmers. In fact, it’s very difficult to achieve the above two points, but this is the starting point of Ogawa’s crew.
