黃昏里一盞明燈:他們?cè)趰u嶼寫作文 / 蔣斐然“是誰傳下這詩人的行業(yè)，黃昏里掛起一盞燈”。在這文學(xué)閱讀日益衰退的年代，《他們?cè)趰u嶼寫作》掛起了黃昏里的明燈。我們不禁感嘆，臺(tái)灣啊臺(tái)灣，臺(tái)灣啊臺(tái)灣。看似被政治力攪和得烏煙瘴氣的臺(tái)灣，看似民風(fēng)日下樂娛表淺的臺(tái)灣，卻從不叫人真正失望，因?yàn)樵谶@個(gè)島嶼的某個(gè)角落，某個(gè)時(shí)刻，總是不期涌現(xiàn)這樣那樣充滿力量的的影音創(chuàng)作與文學(xué)記憶，無法被亂流沖走，無法被歷史埋汰，讓人重新堅(jiān)信美好的存在。這個(gè)市井與紛爭(zhēng)的小島，像極了春秋戰(zhàn)國(guó)時(shí)期的中國(guó)，亂力之下有自由，自由之下放百花。他們?cè)趰u嶼寫作。他們是誰？“他們”指向的是一個(gè)漂浮游移卻隱然成形的時(shí)代群體，既有歷史時(shí)間的距離，又有美學(xué)感性上的回眸。“島嶼”作為一種歷史地理的指稱，潛藏了在地思考的逃逸路徑，跳脫省級(jí)，無關(guān)統(tǒng)獨(dú)，拋卻了僵硬的國(guó)族符號(hào)，拋卻泛政治化的情感動(dòng)員。而“在島嶼寫作”則形構(gòu)出一種當(dāng)下此刻的書寫進(jìn)行式，貫穿過去與未來，以寫作的創(chuàng)造性能量，標(biāo)記島嶼之浮光掠影，“島嶼寫作”，讓?shí)u嶼不先于寫作而存在，讓“寫作”無法離開島嶼而成立。六位文學(xué)大家，來自四面八方，出生地殊異，成長(zhǎng)地殊異，但都在島嶼寫作，都在書寫島嶼，都在以文學(xué)書寫作為逃逸陳規(guī)范式的路徑。值得思考的是，其中的幾位作家都是從大陸過去臺(tái)灣的。余光中曾這樣描述他所經(jīng)歷的地方：大陸是母親，臺(tái)灣是妻子。何以母地的生子都綻放在他鄉(xiāng)的愛情里，而后又繾綣于懷鄉(xiāng)的詩情里。不論時(shí)事，擱淺政治，但省兩地的人文落差，便叫人戚戚。《他們?cè)趰u嶼寫作：文學(xué)大師系列電影》創(chuàng)造了文學(xué)紀(jì)錄片的一個(gè)奇跡，成為去年臺(tái)灣一個(gè)重要的文化事件，讓人唏噓之余感到欣慰——還好，文學(xué)還在；還好，讀者還在。這套影片的奇跡在于，它以非凡的誠(chéng)意打動(dòng)了六位文豪的聯(lián)袂出鏡，以紀(jì)錄片的預(yù)算制作出了電影規(guī)格的影像，以文學(xué)電影的姿態(tài)站上了公映院線，以低調(diào)的妝容贏得了高調(diào)的票房和口碑。雖非商業(yè)片，卻敢于挑戰(zhàn)觀眾的口味，不得不敬佩，作為發(fā)行方和制作方的目宿媒體確實(shí)具有過人的膽識(shí)和先天下之憂而憂的人文情懷。但誰也沒有想到，在這樣速食消費(fèi)的年代，悠長(zhǎng)緩慢的詩歌又喚起了人們心底對(duì)文學(xué)的柔軟記憶，真誠(chéng)樸質(zhì)的影像挖掘了字里行間的樂趣，拉近了觀眾與詩人的距離，抵抗了閱讀衰退的憂慮，這表明不管時(shí)代怎么變，人性最初的那份純潔與美好是不會(huì)消褪的。你看到詩人的生活，看到他們作為一個(gè)人是如何存在，然后你突然就讀懂了他們的詩。比如，我看《化城再來人》時(shí)非常驚訝，或許之前聽說過在武昌街?jǐn)[書攤的周夢(mèng)蝶，但并不知悉他原來人如其詩，早已老僧入定，生活作詩仿如修行。再如余光中先生的詩應(yīng)該為大陸觀眾所耳熟能詳，但在紀(jì)錄片《逍遙游》中，我才完全地嘗到了鄉(xiāng)愁的滋味，也才明白之前腦海里的余光中并不是真正的他，他的詩我也并非真的懂。這不就是紀(jì)錄片的意義所在嗎，帶領(lǐng)觀眾進(jìn)入和理解一個(gè)未知的世界。《他們?cè)趰u嶼寫作》成功了，在臺(tái)灣，第一次有這樣的紀(jì)錄片能夠在院線聯(lián)映五周之久，懷揣著所謂的傳說中的“紀(jì)錄”與“文學(xué)”兩大票房毒藥，卻眼睜睜地火爆了市場(chǎng)，成為一種奇特的現(xiàn)象。不論是文藝界還是非文藝界，都不斷有仁人志士站出來鼎力相薦。張艾嘉為首映站臺(tái)，馬英九看后將預(yù)告片投上FACEBOOK大力夸贊，又有多少民眾一看完片子，就涌起一股滿滿的沖動(dòng)，奔向書店購買詩集。也就是說，人們又開始讀詩了。這難道不是最大的奇跡嗎？若說以上是電影之于文學(xué)的奇跡，是電影為文學(xué)的普世化和復(fù)興作出了貢獻(xiàn)，那么反過來，其實(shí)文學(xué)也同樣滋養(yǎng)了電影。《化城再來人》和《如霧起時(shí)》的導(dǎo)演陳傳興說，文學(xué)總能給電影注入大量新鮮的內(nèi)容。文學(xué)電影的類型在亞洲尚未流行，在世界范圍內(nèi)，其實(shí)BBC早已拍攝過很多系列的作家紀(jì)錄片，美國(guó)的大學(xué)也設(shè)有文學(xué)電影的課程。但在整個(gè)大中華地區(qū)，《他們?cè)趰u嶼寫作》是第一個(gè)做這件事的人，若這一波電影的佳績(jī)能興起整個(gè)文學(xué)電影類型在亞洲的發(fā)展和崛起，那就豐富了我們的電影市場(chǎng)和電影創(chuàng)作，不論對(duì)影人還是對(duì)觀眾，都是打開了一個(gè)多元化的出口。從紀(jì)錄片的意義上說，也是對(duì)紀(jì)錄電影創(chuàng)作現(xiàn)狀提供了一種激活的可能性。當(dāng)然這需要所有人的協(xié)助和推廣，而我們，正是在做這樣一件事。在寶島，有人在努力的保留純文學(xué)的火種。而中國(guó)大陸，也曾像這個(gè)島嶼一樣，經(jīng)受過動(dòng)亂對(duì)文學(xué)的摧殘，如今卻少有人以主動(dòng)的姿態(tài)踐行對(duì)文學(xué)的熱愛。但我相信，這里同樣潛藏著一大批堅(jiān)定的文學(xué)青年，而臺(tái)灣文學(xué)正是他們成長(zhǎng)路上的重要養(yǎng)分，只是在這樣的時(shí)代背景和社會(huì)風(fēng)氣下，他們選擇了隱藏這份欲說還休的熾熱。此番在HAFF能夠一瞥這些文學(xué)大師在銀幕上巨大的身影，必定會(huì)振奮這群長(zhǎng)久遭邊緣化的文青的心。而那些許久未拾書卷的人，或也會(huì)在看完這一系列的電影之后，重新回歸讀者的身份。另一方面，也是給大陸電影單一乏味的商業(yè)趨同提供一種反思，為食之無味的觀影市場(chǎng)注入一劑新鮮的青草味。這里的觀眾已坐在黑暗的影廳里等候許久，等待著在大熒幕上看到不一樣的電影，等待著在從電影里找回久違的感動(dòng)，等待著恢復(fù)封存多年的文藝味蕾。《兩地》分屬的風(fēng)景《他們?cè)趰u嶼寫作》展現(xiàn)出的是影像威力下的時(shí)代感性。六部電影有敘事結(jié)構(gòu)上的繁復(fù)，有影音調(diào)度上的別出心裁，更有美學(xué)與倫理上的巧妙幽微。有別于傳統(tǒng)“作家身影”的拍法，六部紀(jì)錄片的每一部片都有兩個(gè)創(chuàng)作心靈的呼應(yīng)與頡抗，一個(gè)是使用文字的作者，一個(gè)是使用影像的導(dǎo)演，彼此之間的微妙張力，讓影像不再是文字的二次表述，讓文字跳脫懷舊氛圍，重新展現(xiàn)當(dāng)代感性。《兩地》，臺(tái)北和北京，臺(tái)灣和大陸。此片在構(gòu)思上頗有深意的地方在于，導(dǎo)演楊力州在片中徹頭徹尾地將“兩”的概念詮釋到底。他將林海音的女兒去北京探尋母親舊地的過程拍下來，與早前林先生自己去北京尋訪的影像并置，兩次的鏡位和路線都很相似，甚至女兒和母親都問了一些一樣的話，由此兩兩相望的感覺就浮現(xiàn)了，暗示著代代相傳，也暗示著兩地紐帶不斷。配樂師柯智豪為了呼應(yīng)“兩”的概念，將俄系與歐陸兩大樂種的旋律和節(jié)奏調(diào)配在一起，但其實(shí)所有場(chǎng)景的主旋律又都暗藏著《送別》的音符，因?yàn)樗谴似魳返闹鬏S。剪輯上也頻繁地展現(xiàn)出兩兩對(duì)立的撞擊。比如說，敘事說到了林海音先生因?yàn)榭橇孙L(fēng)遲的文章而被免職時(shí)，畫面首先是當(dāng)年“文學(xué)須服務(wù)于政治”的宣導(dǎo)片最后會(huì)場(chǎng)鼓掌的一幕，緊接上的就是嚴(yán)肅沉重的字幕，告知觀眾，在這個(gè)掌聲底下，林海音被免職，在這個(gè)掌聲底下，風(fēng)遲被判三年六個(gè)月的徒刑。像這樣的例子比比皆是。另值一提的是，《兩地》中有大量的動(dòng)畫。動(dòng)畫部分并不疏離出戲，它是精致溫馨的，因?yàn)樵嬋∽杂诹趾Ｒ糇钕矚g的關(guān)維興水彩大師的插畫《城南舊事》，而京劇的實(shí)現(xiàn)方式又讓人感受到這個(gè)在老北京發(fā)生的故事。我看完動(dòng)畫的感覺是，跟林先生的世界又近了一步。《兩地》也采用了不少稍顯矯情的特效渲染手法，比如翻頁的老報(bào)紙配上動(dòng)態(tài)的新聞報(bào)道，這些是刻意、煽情而熾熱的，而紀(jì)錄是淡然、誠(chéng)實(shí)而冷靜的。導(dǎo)演也意識(shí)到了這一點(diǎn)，所以有意時(shí)不時(shí)地曝露一些“穿幫”鏡頭，或是讓攝像機(jī)入鏡，或是保留一些晃動(dòng)不已的畫面，為的是將觀眾從故事中推出去，回歸紀(jì)錄的客觀姿態(tài)。《化城再來人》的一天《化城再來人》時(shí)長(zhǎng)163分鐘，六部中最長(zhǎng)的一部，以我淺見，也是最有深度的一部，也可以說是最靠近電影的。它的敘事定點(diǎn)有如《尤利西斯》，一整部紀(jì)錄片講述的是周夢(mèng)蝶的一天的回憶，但敘事線條并不單一，其中疊合了回憶的多重時(shí)間點(diǎn)，顯示出周公本身性格的復(fù)雜性。第一次看這部紀(jì)錄片的時(shí)候，令人印象最深的是周公的聲音，他一直在不緊不慢卻又用力地嚼著他的詩和尺牘，仿佛誦讀也是一種修行。周公的詩中呈現(xiàn)的是一種不純粹的語言，舊詩，禪詩或偈語，全部糅雜在一起，而《化城再來人》將這些不純粹凝結(jié)在一起的紐帶就是周公的聲音，包括它的質(zhì)感，快慢，節(jié)奏等等。而聲音就是時(shí)間的另一個(gè)指標(biāo)。我們聽著周公的念白，就真真切切地體會(huì)了他那句“只有時(shí)間嚼著時(shí)間的反芻的微響”。導(dǎo)演陳傳興說，“周公平常說話經(jīng)常陷入一種獨(dú)白的境況，即便與人對(duì)話，對(duì)面的人于他而言也只是回聲墻。而念詩的時(shí)候卻大不一樣，念詩的時(shí)候是他與他的詩對(duì)話，你觀察他特寫的臉，感覺聲音在他好似山脈的一起一伏的肌膚上流動(dòng)。”這本身就是一種梵文的心境，這種誦讀是一種非人間的與神對(duì)話。除了周公的聲音之外，潛伏在影片始終的另一個(gè)重要的聲音就是水流的聲音，當(dāng)然是隱喻時(shí)間的縱向?qū)挾龋瑢?duì)于周公這樣一日如一生的文人來講，這水流聲又添無限禪意。完整看過此片的人絕不會(huì)忘記開頭和結(jié)尾呼應(yīng)的江面，那過去的江面要去向哪里，誰都無解，就像時(shí)間要流向怎樣的未來，我們都無從知道。為了反應(yīng)周公這樣的猶疑而不確定的生活在在臺(tái)北城里的“悉達(dá)多”，導(dǎo)演甚至將周夢(mèng)蝶的淡水河比作印度的恒河，拍攝了兩地的畫面混剪在一起，有意讓人分不清到底是淡水還是恒河。全片的敘事非常從容，毫無夸張矯飾之處，但閱畢周公的印象已如烙印般深銘心中，那樣的氣質(zhì)不只是“入定”或是“出世”可以簡(jiǎn)單形容，他可以隨時(shí)對(duì)外界打開，也可以隨時(shí)關(guān)閉。陳傳興將周公比作漏斗，外界的事物可以經(jīng)過他的身體，然后完完全全地流過去，不留下一點(diǎn)殘余。而《化城再來人》最出色的地方在于，他沒有只顧著刻畫周公這種外界既定的佛者文人形象，它呈現(xiàn)出了一個(gè)真實(shí)的人內(nèi)心的矛盾，對(duì)男女情感的期待和糾葛，對(duì)宗教的堅(jiān)定與不堅(jiān)定，對(duì)人生取向的來回?cái)[蕩。比如周公談三毛那段，我看到是覺得驚異又覺得真實(shí)。再如談到周公去電影社看電影時(shí)，投影在斑駁墻上的影片是卡爾?德萊葉的《吸血鬼》（1932），那一幕講述的正是一個(gè)男人救贖了女人，這樣細(xì)膩的安排歸功于導(dǎo)演對(duì)周公復(fù)雜性格準(zhǔn)確而敏銳的捕捉。這其實(shí)是非常難的事情，因?yàn)橹芄皇莿”纠锉凰茉斐鰜淼娜宋铮莿?chuàng)作團(tuán)隊(duì)在有限的時(shí)間里新認(rèn)識(shí)的活生生的人。此片的剪輯非常尊重時(shí)間上的連貫性，未有打動(dòng)干戈，自然而有力，體現(xiàn)了紀(jì)錄片剪輯最好的狀態(tài)。尤其開頭周公起床、吃面、上廁所、洗澡那一長(zhǎng)段，幾乎沒有話語也沒有配樂，非常漫長(zhǎng)，但周公的生活狀態(tài)和精神世界已赫然顯現(xiàn)，因?yàn)闀r(shí)間在他身上本身就走得比較慢。同樣周公所有講話的速度和長(zhǎng)時(shí)間的停頓也被充分地尊重，包括他偶爾瞬間入定而長(zhǎng)久靜白的沉默，動(dòng)人深刻。《逍遙游》是一出自由的紀(jì)錄劇《逍遙游》的特色在于有一個(gè)完整的劇本，陳懷恩導(dǎo)演是電影出身，拍攝的時(shí)候就有分鏡了，因而系統(tǒng)性非常強(qiáng)，當(dāng)然也有精心雕琢之感。片子定位在余光中四十歲左右“你不知道你是誰，你幻滅”的人生階段的議題上，進(jìn)而引出詩人一生不停地自我爭(zhēng)論，與自我對(duì)話的主題。由于是年輕余光中，所以有大量搬演的部分，用以再現(xiàn)余先生當(dāng)年讀書寫詩的場(chǎng)景，是六部紀(jì)錄片中編劇搬演最多的一部。除了搬演部分的編劇，他們也有讓年輕的臺(tái)大詩社成員熱烈討論余光中的詩這般的情景預(yù)設(shè)。所以這部紀(jì)錄片其實(shí)采用的是比較劇情片的構(gòu)思和制作方法，包括預(yù)設(shè)主題，到實(shí)現(xiàn)方式，都有許多企劃的痕跡在里頭，也就是說，是紀(jì)錄內(nèi)容在跟著主創(chuàng)走，而不是主創(chuàng)跟著紀(jì)錄內(nèi)容走。但這樣的高控制力的企劃對(duì)于觀眾來說還是有效的，觀者能很好的進(jìn)入故事，進(jìn)入到導(dǎo)演預(yù)期的情緒里。旁白聲音挑選和剪輯節(jié)奏都精心設(shè)計(jì)。比如《沙浮投海》這首詩是由萬芳來朗讀的，沙浮尸一個(gè)女詩人，這是一個(gè)女詩人投海自殺的故事，所以由一個(gè)悲傷的女低音來朗讀就仿佛第一人稱演繹了這首詩的故事。全片影像風(fēng)格唯美寫意，旁白的交錯(cuò)與視覺搭配，就已經(jīng)奏出一曲漂亮的詩歌。《如霧起時(shí)》是一曲哀歌《如霧起時(shí)》拍鄭愁予，同樣出自陳傳興導(dǎo)演之手，但與《化城再來人》是完全不同的調(diào)性。我覺得《如霧起時(shí)》是一曲哀歌，它的氣質(zhì)是比較沉重的，是圍繞著詩與歷史展開的。比如他采用了大量客觀性陳述的旁白，選取了一個(gè)低沉的女音代表一個(gè)第三人的角度，一個(gè)在故事之外的全知全能的角度，講述一些關(guān)于詩人的事實(shí)。全片的架構(gòu)清晰可見，前半部分比較男人戲，有很多史料影像，回顧詩壇文壇的幾次論爭(zhēng)，而后鄭愁予結(jié)婚成家，影像轉(zhuǎn)到了非常有生活氣息的家的空間里，轉(zhuǎn)到了美國(guó)的寧靜薄霧里，轉(zhuǎn)到了鄭先生夫人和其他幾位女性知識(shí)分子的視角里。這種性別視角的轉(zhuǎn)移與時(shí)間線性的發(fā)展相吻合，不知不覺中也就完成了影片氣氛的轉(zhuǎn)變。另外一個(gè)轉(zhuǎn)變是相對(duì)于主人公的鏡頭機(jī)位的轉(zhuǎn)變。開片訪問鄭愁予的一幕是在小河邊的一個(gè)推軌鏡頭，鏡頭一直處在詩人的背后方，隨著敘事的展開，機(jī)位慢慢地轉(zhuǎn)到傳主的正面，觀眾對(duì)鄭愁予的認(rèn)識(shí)也慢慢加深。陳傳興對(duì)很多意象和動(dòng)作都有非常主觀而深層的解讀，但全片的影像還是采取了一種比較遙遠(yuǎn)的觀望姿態(tài)，并未作過多注腳。在《如霧起時(shí)》里，他更多的是在呈現(xiàn)一種詩的歷史，所以前半段使用了大量史料報(bào)章，藍(lán)星舊刊等過去的實(shí)物來目擊歷史。后半段是鄭愁予在美國(guó)的工作和生活，于是出現(xiàn)了畢業(yè)證書，學(xué)位證書，榮譽(yù)證書等見證物。這些統(tǒng)統(tǒng)被端端正正地放大在鏡頭前，訴說詩與歷史的關(guān)系，因?yàn)闅v史說到底是以一樁樁的事件來標(biāo)記的。影片前前后后充滿了呼應(yīng)和對(duì)照，比如美國(guó)1970年爆發(fā)的反越戰(zhàn)學(xué)潮的新聞?dòng)捌捅ａ炐袆?dòng)的影像都對(duì)照了臺(tái)灣50年代八二三炮戰(zhàn)前后肅殺和動(dòng)蕩以及六七十年代中國(guó)的文化大革命的激進(jìn)。陳導(dǎo)有意識(shí)地在用各種方法加重片子的嚴(yán)肅氣氛，呼應(yīng)那個(gè)時(shí)代的沉重。比如全片處處有字幕（側(cè)標(biāo)），有的是史實(shí)，有的是觀點(diǎn)，有的在黑幕時(shí)出現(xiàn)，有的甚至就打在人物臉上。而這些側(cè)標(biāo)字?jǐn)?shù)多，速度快，觀眾根本來不及讀完，而導(dǎo)演就是有意為之，有意讓你負(fù)荷過重，從而體會(huì)那種硬質(zhì)的沉重。但有時(shí)，你不得不承認(rèn)，陳導(dǎo)因?yàn)閷⑵湄S厚的藝術(shù)電影的涵養(yǎng)都呈現(xiàn)在畫面里，其中的深意和過多的隱喻并非一般觀眾能夠消化領(lǐng)悟。《尋找背海的人》是現(xiàn)實(shí)主義的浪漫紀(jì)錄林靖杰導(dǎo)演的《尋找背海的人》是極具現(xiàn)代性和藝術(shù)性的一部紀(jì)錄片。王文興本身是現(xiàn)代主義風(fēng)格的作家，因此影片呼應(yīng)這種形式上的對(duì)接是非常恰當(dāng)?shù)摹！秾ふ冶澈５娜恕酚蟹浅＜?xì)密的線索和嚴(yán)密的架構(gòu)，也有很多創(chuàng)舉和巧思，屬于比較非傳統(tǒng)的紀(jì)錄片。因?yàn)橥跷呐d是小說家，為了將小說的故事訴諸視覺，林導(dǎo)干脆將《家變》改編成了一個(gè)十足現(xiàn)代性的舞臺(tái)劇呈現(xiàn)在片中。另一個(gè)構(gòu)思是“牢房”，王文興將其每日寫作的那間房比作牢房，林靖杰就拍攝了他在牢房里的真實(shí)寫作過程。這對(duì)于作家本身來說是不易的，要做到放松地在攝影機(jī)的監(jiān)視下工作。對(duì)于導(dǎo)演來說也是不易的，因?yàn)槠溟g需要大量的磨合和溝通。最后呈現(xiàn)出來的那種真實(shí)的狀態(tài)是令人動(dòng)容的，當(dāng)你看到作家握著筆竿不斷地敲打著桌面和稿紙的時(shí)候，你也能感受到他正在敲打自己的靈魂。再如此片的動(dòng)畫，明顯區(qū)別于其他幾部片中的動(dòng)畫，實(shí)驗(yàn)性很強(qiáng)，像《草原底盛夏》有著超現(xiàn)實(shí)的調(diào)性，《背海的人》和《星雨樓隨想》則有著十分先鋒的氣質(zhì)，單獨(dú)拿出來看，都已經(jīng)是很棒的作品，所以整個(gè)片子的完成度也就顯得非常高。配樂非常吻合王文興的文學(xué)氣質(zhì)，有苦澀沉悶的味道在里頭，尤其是動(dòng)畫的配合，充盈著機(jī)械主義的幽默和殘酷在里頭。這六部電影雖然出自不同的導(dǎo)演之手，風(fēng)格各異，但在整體上竟然也呈現(xiàn)出了巧妙的統(tǒng)一性。影像畫質(zhì)都很相近于5D Mark II的風(fēng)格，都采用了讀詩和念白的手法，也都圍繞著作家本身展開敘事，配樂幾乎一致地采用了無調(diào)性的現(xiàn)代弦樂，非常貼合詩文的氣質(zhì)。這一套非常高質(zhì)素的文學(xué)紀(jì)錄電影，值得每一位電影觀眾和文學(xué)讀者細(xì)細(xì)咀嚼和珍藏。《朝向一首詩的完成》是個(gè)未完成的朝向《朝向一首詩的完成》取名于楊牧《一首詩的完成》，但楊牧認(rèn)為，從泛義來講，寫詩并沒有完成，何不加上“朝向”二字，于是有了“朝向一首詩的完成”。此片是溫知儀導(dǎo)演的，是六部片中唯一一部由女性執(zhí)導(dǎo)的片子，十足的女性色彩，手法比較陰柔。這當(dāng)然也是女性導(dǎo)演的一個(gè)特色和優(yōu)點(diǎn)。影像部分印象比較深的是介紹反越戰(zhàn)的《十二星象練習(xí)曲》這首詩時(shí)搭配了現(xiàn)代舞和越戰(zhàn)資料重疊的畫面，非常柔美和實(shí)驗(yàn)，我覺得這是男性導(dǎo)演絕對(duì)不會(huì)采用的手法。影片有加入搬演的部分，由一個(gè)小孩子來演繹楊牧小時(shí)候在花蓮的時(shí)光，也有像《兩地》一樣，采用動(dòng)畫來詮釋楊牧的詩歌，也做了很多跟楊牧先生有關(guān)的人的訪談，這些都是紀(jì)錄片常用的實(shí)現(xiàn)方式。誦詩部分請(qǐng)來了很多其他詩人和學(xué)生分別念詩，寓意楊老師的詩影響了世世代代的人，但影片是以楊牧先生自己朗誦自己的詩作為影片的開篇和結(jié)尾，聽來叫人非常感動(dòng)。這部片子跟其他五部片子一樣，很好的一點(diǎn)在于，他們把重心放在詩人本身上，而并非單單在他的詩作上，于是整個(gè)片子就很貼近詩人本身的氣質(zhì)。A Beacon in the Dusk: The Inspired IslandJiang Feiran“Who left the profession of writing poetry, hanging up a beacon in the dusk”.This generation witnesses a gradual decline in reading literature, The Inspired Island hangs up a beacon in the dusk.We cannot help sighing with emotion: Taiwan, oh Taiwan; Taiwan, oh Taiwan. Taiwan, which seems to have been polluted with a foul atmosphere by political power and filled with a decaying folk custom and a superficial entertainment circle, never truly disappoints people, for at a certain moment from a certain corner of this island, there would always unexpectedly spring up some powerful video or audio creations and literary memories never washed away by turbulence or weeded out by history, bring back people’s belief in the existence of beauty. This island, with its marketplace culture and disputes, resembles the old China during the Spring and Autumn Period, showing in the turbulence freedom, under which bloomed all flowers.They are writing in the Island. Who are they? “They” refers to drifting but invisibly formed generation group, which boasts not only a historical distance, but also an aesthetic and emotional back-glance. “Island”, a historical and geographical nominatum, conceals an escaping path of thoughts regardless of provincial class, unification or independence and discards the rigid national symbol and politicalized emotion movements. And “writing in the Island” forms a current proceeding of writing what connects the past and the future, skimming over the surface of the Island with the creative energy of writing. “Island & writing” makes “Island” exist not prior to “writing” and “writing” unable to exist without “Island”.Six literary giants, coming from various backgrounds with different birthplaces and places where they grew up, are all writing in the Island, writing the Island, and escaping from the stereotyped forms by writing. What is worth thinking about is that some of them all came to Taiwan from China’s mainland. Yu Kwang-chung, one of the six, once described the places where he experienced his life: China’s mainland is the mother, while Taiwan is the wife. How come that children born in the mother’s land are blooming in the love of a place away from home, and then deeply attached to the nostalgic poetry? Regardless of the current events and the politics, only the cultural divergence between the two places could already make people sorrowful.The Inspired Island: Series of Eminent Writers from Taiwan is a miracle of literary documentaries, making itself an important cultural event last year in Taiwan and bringing delight to sighing people—it is well enough that literature and readers are still here. This miraculous documentary aroused the feelings of six literary giants with extraordinary sincerity, made the image with the form of films by using the budget of a documentary, released to the public with a literary attitude and won a high box-office and a great reputation with a plain appearance. Though not a commercial film, it delivered the courage to challenge audience’s taste, which irresistibly generates our admiration for Fisfisa Media, the issuer and the producer, for its super courage and selfless humanistic feelings. However, it is out of all people’s expectation that it this age of fast food consumption, long and slow poetry has re-aroused people’s tender memories for literature, and sincere and simple images have excavated the interest among the words and between the lines, shortened the distance between the audience and poets, and resisted the worry of reading decline. This indicates that in whatever way the times changes, the original purity and beauty of human nature would remain unfading.You would suddenly understand their poems by observing poets’ life and their ways of existence as a human. For instance, I felt rather surprised when watching The Coming of Tulku. Perhaps I had already heard about Chou Meng-tieh who had a bookstall at Wuchang Street, but I did not know that he was just like his poems, regarding life and versifying as cultivating himself, very calm and without worldly passions. Also, the poems of Yu Kwang-chung must be very familiar to readers in China’s mainland, while it was in The Untrammeled Traveler that I came to fully sense the nostalgic feeling and came to realize that the Yu Kwang-chung existing in my mind before was not the real him and that I never truly understood his poems. And this is where the significance of documentaries—leading people into and then to understand an unknown world— can be found. The Inspired Island was a great success. In Taiwan, it was the first time for this kind of documentaries to be shown in cinemas for five continuing weeks. With so-called two poisons for box-office, “documentary” and “l(fā)iterature”, it became surprisingly hot in the market, marking a miraculous phenomenon. People with lofty ideals showed their great recommendation in succession, no matter from the literary and art circles or not. Sylvia Chang, an actress, showed her support by attending the first run; Ma Ying-jeou, the Taiwan Leader, posted the prevue onto the FACEBOOK after watching it and revealed great appreciation; many other people, after watching it, all flooded to bookstores for collections of poems with enormous passion. In other words, people begin to read poems again. Isn’t that the biggest miracle?If the aforementioned is the miracle brought to literature by films or the contributions made to literature’s popularization and rejuvenation by films, the following could be regarded as the nourishment that literature has in turn provided for films. Chen Chuanxing, the director of The Coming of Tulku and Port of Mists, said that literature could always inject abundant fresh content into films. Viewing worldwide, we may see that BBC has produced many series of documentaries for writers, and there are also courses on literature films in American universities, but literature films are still not popular in Asia. In the whole Great China, The Inspired Island was the initiator of that. If this achievement can generate the development and expenditure of literature films in Asia, it would enrich our film market and film creation, opening a diversified exit for both filmmakers and the audience. Viewing from the significance of documentaries, it would also be stimulus for the current creation of documentary films. That surely needs all people’s support and promotion, and this is what we are exactly doing.In Taiwan, some people are striving to keep the kindling of pure literature, while in China’s mainland, where literature once experienced similar damages due to turbulences, there are few people initiatively practicing love for literature. But I believe that there also incubate a multitude of literary youths, and Taiwan literature is the very nutrition during their growth. It is just that under this background and social morality, they choose to conceal the fervor of keeping what they are eager to express. This time, a glance of the greatness of these literary giants on the screen during the HAFF would surely inspire those literary youths who have long been undergoing marginalization. Also, those who have not read for long would probably win back their identity of being a reader after seeing this series of films. On the other hand, it also provides an introspection for the dull, stuffy and commercialized films from China’s mainland, bringing the tasteless film-seeing market fresh energy. The audience here have long been waiting in the dark video halls for showing up of “different” films on the screens, for the long-awaited touching affection from films, and for the recovery of artistic taste that has been sealed up for years.The Separated Sceneries of Home in Two CitiesWhat The Inspired Island reveals is the emotion of times under the power of images.The six films boast complexity in narrative structures, uniqueness in video or audio adjustments and wit and profoundness in aesthetics and ethnics. Unlike traditional filmmaking of “writer’s silhouette”, each of the six films has two creation souls echoing and clashing with each other. One is the author who uses words, and the other is the director who uses images, both of whom show subtle tension between each other, making images not just the second expression of words and words jump out of the nostalgic atmosphere and display the modern emotions.Home in Two Cities refers to Taipei and Beijing, and Taiwan and China’s mainland. This film delivers profound meaning in its meditation that Yang Li-chou, its director, made a complete interpretation of the concept of “two” throughout the film. He photographed the process of Lin Haiyin’s daughter’s visiting her mother’s former site in Beijing and then co-arranged the image of the earlier visit of Ms. Lin herself. The two shoots were quite similar in both camera locations and routes, even the daughter and the mother both asked some same questions, as a result of which the feeling of the two shoots’ echoing emerged, suggesting the transmission from generation to generation and the strong connection between the two places. In order to echo with the concept of “two”, Ke Zhihao, the background music controller, mixed the melodies and rhythms of Russian and continental music, while the themes of all scenes conceal the note of Seeing Off, which is the principal axis of the music of this film. Also, collisions are frequently seen in the editing of the film. For example, when it came to the narration that Lin Haiyin was deposed for publishing Fengchi’s article, the frame was at first the applauding scene in the meeting place of the guiding video of “l(fā)iterature should serve the politics” in those days. What followed was solemn and serious subtitles informing people that it was behind these applauds that Lin Haiyin got deposed, and it was behind these applauds that Fengchi was sentenced to three and a half years. Examples like this can be found everywhere. Another point worth mentioning is that Home in Two Cities possesses many animations, which are exquisite and comfortable and not isolated from the film, for the original painting was taken from My Memories of Old Beijing, Lin Haiyin’s favorite illustration by watercolor master Guan Weixing, while at the same time, the realizing approach of Peking Opera can make people truly feel this story that happened in old Beijing. I felt I was closer to Ms. Lin’s world after watching the animations. Besides, Home in Two Cities has adopted quite a few such slightly affected depicting approaches with special effects as matching dynamic news report to the page turning of old newspapers. This is deliberate, sensational and fiery, while documentaries are indifferent, honest and calm. Having realized this, the director deliberately revealed some “goof” scenes now and then, either showing the camera in the scene or keeping some shaking scenes, the purpose of which is to push the audience out of the story and back to the objective attitude of the documentary.The Man behind the Book is a romantic record of realismThe Man behind the Book directed by Lin Jingjie is a documentary with both modernity and artistry. Because Wang Wenxing is a writer of modernism, so the film is very appropriate to echo this form.The film has the detailed clues and rigorous framework, and of course, there are a lot of initiative and ingenuity, making the film a non-traditional documentary. In order to transform the novel into a visual story, the director simply adapted 《Festen》into a modern drama presented in the film because Wang Wenxing is a novelist. Another idea is a "cell", Wang Wenxing compared the room where he writes everyday to the cell, and Lin Jingjie shot the writing process of him in the cell. To be honest, being relaxed in front of the camera is quite hard for the writer. And it’s same for the director, since it needs a lot of communication. The scene of writing presented finally is touching, when we see the writer holding the pen beat the desktop and the manuscript, we can feel that he is beating his own soul. As to the animation in this film, it is significantly different from several other film animation, It is experimental. 《The summer at the foot of the grassland》is realistic,《Find the man back to the sea》 and 《Capriccio at Star Rain House》 just like a pioneer. Take them apart, they are all great work, so the whole film is of high quility. The soundtrack suits the literature temperament of Wang Wenxing, it has the sense of dreariment, with the animation, it impresses us with the humor and cruel of mechanical materialism.Although this six films are directed by the six different directors, vary from style, they have something common on the whole. First, Image quality is similar to the style of 5D Mark II. Then, they all read poets or narration, they all tell a story about writers. Besides, they all use modern string music as the soundtrack, fitting the temperament of poem. These high quality literature documentary films deserve every movie audiences and literature readers experience.Towards the Completion of a Poem is not a completed toward.It is named from the work《The finish of poem》by Yang Mu. In his opinion, in terms of pan-righteous, writing the poem has no end, in other words, never completed, so why not add" towards "to the title, so we see this name. This film is directed by the WEN Zhiyi, the only woman in the six directors of these films, the film is relatively feminine. This, of course, is the feature and advantage of the female director.What impressed me most is the introduction to the poem 《twelve astrological Etude》 about anti-Vietnam War. The introduction mixs the modern dance with the picture of Vietnam War ,it’s full of soft and experimental, I think this is the approach what male directors will never adopted. The film has the scene of performance, a child interpretated the childhood of Yang Mu in Hualien. The film also use the animation to explain the poem by Yang mu like the film Home in Two Cities, and lots of interview of the people related to the Yang mu as well, these are the common approaches of documentaries. A plenty of poets and students read the poems in the film, meaning that Yang's poems affect generations of people, but the director let Yang Mu read his own poems as the opening and the end of the movie, making us moved. The film focus on the poets rather than the poems they write, just like the other five movies, and that’s good. Thus the whole film is close to the poet's own temperament.