序言 崔允信，獨立電影節節目策劃、影意志藝術總監 《台灣電影宣言》剛好在三十年前的一月發表，記下當時一班台灣電影工作 獨立焦點：台灣新電影「海的想像」 者對電影環境的期望。今年電影節我們希望從新角度理解「台灣新電影」； INDIE FOCUS: ‘Oceanic Imaginary’ 讓更多觀眾重新認識台灣電影新浪潮同時，也聯繫今天香港的創作環境。 常言科技進步、拍攝方便又便宜了，但拍電影較以往容易，作品多了，題材和 風格卻越來越單一。回看八十年代的台灣電影，有些作品或電影人或許沒有 得到即時認同甚或商業的肯定，但在題材、手法上，仍有許多值得今天電影人 in Taiwan New Cinema 學習、延續的地方 。 我們時常討論何謂「獨立電影」，籠統地說，是指獨立於「主流」的作品。然而今 or of Hou Hsiao-hsien’s A City of Sadness (1989), they were all new directors, 時今日，在這連「主流」都歸邊的時代，許多實在而又值得關心的議題並沒人在 敍的複雜結構，再加上《恐怖份子》（1986）的虛實交錯的確讓人驚艶，刺激了 台灣電影新浪潮的開始 screenwriters and literature administrators. Cutting cost would be one 談論，所謂主流，看到的偏偏只是一個虛假的世界。今年選映的電影，無論是本 我們這一代的新導演們：電影可以有更廣的路！侯孝賢更義氣的把自己的住屋 文：柯 一 正 of the reasons, also because they communicated well and had the right 地或海外，都圍繞一些很在地的問題，從國土與自我身份出發，互相觀照。 抵押，讓楊德昌完成《青梅竹馬》（1985），台灣電影新浪潮是靠這樣的友誼磨 一個新氣象的形成是滙流許多契機統合而成，台灣新電影也是。 temperament. The most touching part was that whenever a screenplay was 今年我們遇到很大的困難，藝術中心電影院正值裝修期間，沒有了主場地， 擦出火花的。 done, a dozen of screenwriters and directors would read and comment on 1980年前後，許多細微的暗流開始啟動。台灣電影金穗奬辦了四、五屆， 迫不得已把場地分散。未來場地也會是一個難題，不是不可以迎合社區放映 it just by one phone call. For those who were not available, they would write 的趨勢，但實在要思考原由。或許直接打壓尚未逼近，但不能無視眼前的事 讓電影學系學生和熱愛電影人士有機會發表作品，被挖掘進而加入電影工作。 down their thoughts and post them back. All these cost nothing more than 實，亦不能以商業理由把審查合理化。藉社區放映接觸更多觀眾的同時，我們 至今已近40屆，李安、蔡明亮、魏德聖、曾壯祥、周美玲，林書宇等都是得金穗 The Beginning of a cup of coffee. Everyone meant well and hoped for the best. I remember 也要抱着一份反抗的意志，希望有天可以影響到主流觀眾。 奬而被賞識延攬。小野及吳念真進入台灣最大的中影公司企劃部，他們極具 the New Wave of Taiwan Cinema the time before Wan Jen started filmingAh Fei (1984), Hou, Wu and our 影意志邁向二十年，電影節也第十屆了。今天拍電影容易了，選擇太多，或者 叛逆而且有開發性，有計劃地提拔新導演，不惜和上級對抗也要維護編導的 group discussed until the restaurant was about to close. Then, we went Written by Ko I-cheng, translated by Choi Yi Ling 是時候改變一下方向。今後，希望影意志可以更早參與製作，拍出理念相近的 創意。幸好當時中影的總經理明驥先生是軍人出身，不懂電影但耿直不屈全 to two other restaurants that still open and talked until midnight - all we A movement often starts by chance, so does Taiwan New Wave Cinema. 電影，使這種精神得以持續。一個電影節辦幾多年，到頭來都只是可參考的 力支持屬下走創新的路。張艾嘉找了台灣電視公司的製作人陳君天和導演宋 wanted was to improve the play. Our creativity was at the peak. I even moved Around 1980, a ring of ripples is spreading out. In the first four or five years, 歷史而已。我們從來沒有要發展成大型影展的願景，然這些年來影意志算是 存壽製作「十一個女人」系列電視電影，以十一位女作家的短篇小說再配合十 to Yang’s place at Jinan Road for three months for the sake of the screenplay. Golden Harvest Awards offered a platform for Cinema Studies students Yang is the kind of creator who needs a friend to talk to him constantly. 有點成績，一些想支持我們的有心人，就算不求回報，想知道捐助能否使計劃 一位導演，網羅電影的技術班底，期待讓千篇一律的電視劇有新的詮釋方式。 持續也正常不過。但我想正正因為沒有太多這種計算和考量，影意志才找到 and movie lovers to screen their works, get noticed and set foot in the He had a board writing ‘cinema revolution camp, start up at little cost’ 而當時導演都不計較酬勞微薄，仍然全力以赴，但也因為製作認真而超出許多 自己的位置；繼續發掘獨立電影的新可能。 film industry. Forty years until now, many directors including Ang Lee, Tsai on top. He used the right side on the board and I took the left side, we 預算，全部由張艾嘉和陳君天掏私囊貼補。楊德昌和我就是其中兩位由此作品 Ming-liang, Wei Te-sheng, Tseng Chuang-hsiang, Zero Chao, Tom Shu-yu talked about any topics that came across our mind and wrote titles down. 被小野、吳念真找去拍《光陰的故事》（1982）。 Lin and more are discovered because of this Awards. Hsiao Yeh and Wu In three months, I finished a screenplay and two synopses. That particular FOREWORD 1979 年台美斷交後，外省族群不再期望存錢回鄉，資金轉投入房地產和股市， Nien-jen joined the Central Motion Pictures Corporation (CMPC), which is screenplay was Kidnapped (1983), and it was later produced as a film; the 帶動經濟，國民生活改善，以往人民精神寄託的三廳式夢幻愛情電影開始示 the largest film company in Taiwan. They were so rebellious and explorative other two synopses were made into television programmes. On Yang’s side, Vincent Chui, HKindieFF Programme Curator, Artistic Director of Ying E Chi that they strategically promoted new directors and defended the creativity 微，市場上期待新的電影類型。又逢中影公司幾部超大製作的宣傳片如《大湖 he had eighteen titles on, and everyone was remarkable. At last, it was the Translated by Cheung Ka Wan of screenwriters, even against their superiors’ will. Fortunately, they met 英烈》（1980）、《辛亥雙十》（1981）相繼票房失利，小野、吳念真趁勢以低成 That Day, on the Beach he completed. He then wiped the other seventeen Taiwan Cinema Manifesto was issued 30 years ago in January 1987 by a group Ming Ji, a former soldier and the General Manager of CMPC. He insisted on 本製作風險較小來説服公司啓用新導演。以四段式短片集《光陰的故事》打頭 titles clean and started all over again. In fact, Top Student was the one he of Taiwanese filmmakers, declaring their expectations towards filmmaking branching out and fully supported Hsiao Yeh and Wu, despite unfamiliar with wanted to finish the most, which was about an intelligent crime and a killing 陣，一下了招攬了楊德昌、張毅、陶德辰和我以中影為創作基地。後來兩年又推 environment. This year, we would like to ‘study’ Taiwan New Wave from cinema. Sylvia Chang produced the television film seriesEleven Woman with incident. During a trip to the States, he saw a suspense movie Body Heat 出兩部三段式電影《兒子的大玩偶》（1983）及《阿福的禮物》（1984），前者由 a new angle, not only to introduce it to more audience, but also connecting it Chen Chun-tien and Sung Chuen-sau, a producer of the Taiwan Television (1982), and then he gave up Top Student: ‘their story is way too incredible, 侯孝賢、萬仁、曾壯祥執導；後者導演是羅維明、麥大杰、李啓華。接着又拍了 to the current creative atmosphere in Hong Kong. Thanks to the technology, and a director. It is a series of short stories written by eleven female I am going to put this topic on hold.’ Not until our films made it to the cinema, filmmaking becomes easier and cheaper. But with more and more productions, 《陰間響馬吹鼓吹》（1988）培養了何平、李道明。隨後又從金穗獎看到蘊藏能 authors and directed by eleven directors, hoping to bring freshness to the I found some of his thoughts on my movies and some of my real life events themes and styles of films tend to be more and more homogenous. Although 量的李安作品，聯絡遠在美國的他回台洽談拍片事宜，只是他當時有工作而沒 standardised television programmes with the aid of movie crew. The pay was appear in his films. some of the Taiwan films in the 80s might not be able to gain an immediate 趕上這一波。台灣在當時就這樣積極、有計劃的培育了一批新生代導演。再加 little, but they still did their best. Serious production led to over budget, One can say the Taiwan New Wave Cinema begins with Edward Yang. Yang appreciation or obtain a high commercial value, we can still learn how to write Chang and Chen covered the difference by themselves. It was because of 上優良劇本和電影輔導金的獎金及輔助金越來越高，是當時拮据的電影環境 inspired and excited the younger generations by nominated for the best or film from the films or filmmakers. this production, Edward Yang and I were invited later by Hsiao Yeh and Wu 很大的助力。 director based on his one-fourth contribution in In Our Time. He inspired ‘Indie film’ is usually defined as film beyond the mainstream. However, the to filmIn Our Times (1982). 一個新浪潮是一群同世代創作者的作品集合，有時會共同創作。 directors in our generation by the structural complexity of flashback within boundary of the mainstream is becoming vaguer and vaguer, and we can only After the relations broke between Taiwan and America in 1979, Mainlanders flashback inThat Day, on the Beach and the mixing of reality and fiction 像徐克、梁普智年輕時香港那一群電影創作者時常互相支援，台灣新電影的導 see an artificial world in the so-called mainstream, while social issues that in Taiwan gave up the idea of saving money for going back to the Mainland. in Terrorizers (1986) - there are so much more possibilities for cinema. 演們顯得更加密切，光看楊德昌《海灘的一天》（1983）裏的公司同事和侯孝賢 are worth caring are left unattended. Thus, no matter overseas or local films The money was then invested in the real estate and stock market in Taiwan, Hou even mortgaged his house to help Yang to filmTaipei Story (1985). selected this year are all about various fundamental problems, from discussing 《悲情城市》（1989）裏的文人雅士就是這群才剛展露頭角的導演、編劇、文學 resulting in economic growth and the increase of living standard. Taiwanese Taiwan New Wave Cinema was brought by friendship like this. a nation to knowing oneself. 工作者的客串演出。當然是為了省預算，更重要的是互相熟識好溝通，而且氣 slowly turned their back on romance movies, which used to be their spiritual Due to our main screening theatre Hong Kong Arts Centre is under renovation, 質也對。最感動的是當一個導演劇本完成時，只要打個電話，就會有一打的編 sustenance, and wanted something new. Meanwhile, the box office of some screening venue became a big challenge for us this year. Hence, we have to hold 劇、導演來一起看劇本，給意見。有的導演沒時間參加討論，回去後會寫下所 expensive propaganda films produced by CMPC, such as A Man of Mortality our programmes in different locations. Nonetheless, screening venue would be 有的意見及想法寄回來，這一切只要請喝杯咖啡就行了。大家打心底會希望你 (1980) and The Battle for the Republic of China (1981), flopped. Hsiao Yeh and Wu took this chance and convinced CMPC to adopt low-cost and low- a difficult question to us in the future as well. It is not that we do not cater to 片子拍成而且有好的成績。我記得萬仁要拍《油蔴菜籽》（1984）前，侯孝賢、吳 risk productions by new directors. In Our Time, a compilation of four short the trend of public screening, but we have to think the reasons behind. Perhaps 念真和我們一堆人談到餐廳打烊，我們再轉戰兩家開得更晚的餐廳聊到半夜， films, was the first production in this situation. Edward Yang, Jim Tao, Chang direct suppression is not approaching, but we cannot neglect or rationalise 一直講故事，一直丟情節，就是希望劇本更好。那時候我們的創造力非常旺盛， censorship with business considerations. With public screenings, we can get Yi and I were recruited and based on the CMPC. Two years later, CMPC 為了寫劇本我搬到楊德昌濟南路家中三個月，楊導是個隨時需要有朋友可以 in touch with new audience group, but at the same time, we have to maintain produced two other three-part movies, The Sandwich Man (1983) and The 聊故事的創作者。楊導把他家裏題着「電影革命大本營，英雄創業小成本」的 a rebellious attitude, hoping to influence the mainstream audience one day. Gift of A Fu (1984). The former is directed by Hou Hsiao-hsien, Wan Jen and 白板從中間直畫一條線，左邊給我，右邊歸他，我們一想到有興趣的題材就開 Tseng Chuang-hsiang; and the latter by Law Waiming, Peter Mak Tai-kit and Ying E Chi is heading towards its 20th Anniversary and this year is also our 10th 始聊，然後在自己的那邊寫上片名。三個月內我這邊完成了一個劇本和兩個故 Li Qihua. CMPC also supported directors He Ping and Lee Daw-ming’s The Hong Kong Independent Film Festival. Perhaps it is time for us to make some 事大綱。劇本是《帶劍的小孩》（1983），後來拍成電影。兩個大綱也寫成電視劇 Digger/The Suona Player (1988).