http://thestandard.com.hk/weekend_news_detail.asp?pp_cat=40&art_id=49464&sid=14535931&con_type=3&d_str=20070721

In honor of old Shanghai
Saturday, July 21, 2007

The simple but intimate lifestyle of residents in Shikumen dwellings has been documented in a touching film, writes Michelle Chan

In a shabby apartment on the second floor of a Shikumen house in Dazhong Li, downtown Shanghai, lived an old woman. Mrs Shu had made it her home in 1935, when her son was born.

She was 29 when she settled in her Shikumen flat, a signature style dwelling that blends early 20th-century Western and traditional Chinese architecture. At that time, these concrete urban accommodations housed nearly 80 percent of the city's population and were usually separated by straight alleys with an ornamented stone arch at the entrance.

For more than 70 years, Shu lived her life in the 36-square-meter flat, the home of three generations of her family. She was joined by her son, and in time, her grandson Shu Haolun. They lived there through the worst and best of times - from the turbulence of the Cultural Revolution through to economic boomtimes. They witnessed the demolition of the old and construction of a new Shanghai.

In 2002, when a property developer from Hong Kong acquired the whole area of Dazhong Li, the Shu family realized that they would have to consider moving - for the first time in 67 years.

When grandson Haolun learned that the home he grew up in was likely to be demolished, he decided to document the neighborhood on film. Haolun, who teaches at Shanghai University's School of Film and Television, Art and Technology, started his projec

t in 2002 and together with his production team of a co-director and several technicians and assistants, recorded the lifestyle of Dazhong Li's residents.

"The bond between neighbors is particularly close - many have known each other for decades. Their sense of community is so strong that they don't have to close their doors at night," Haolun explains.

The leading lady of Haolun's documentary is his grandmother and the ordinary way she lived her life: mahjong with neighbors and constant care of her house.

Part of Reel Asia (Asia Society Summer Film Series), the documentary titled Nostalgia is narrated by Haolun who was also cameraman and director. It's a highly personal narration in which he recalls fragments of his carefree childhood - hopping from rooftop to rooftop for fun and queueing for rice rations.

He wonders whether his memories will survive the demolition of these places that will surely be replaced by skyscrapers and questions why so many people prioritize the modern over traditions handed on for more than 100 years.

Today, Dazhong Li still exists and has not yet turned into a construction site. But Haolun worries the area will turn into another Xintiandi, where residents of the Shikumen houses were relocated to make way for coffee shops and high-end restaurants, vanishing one of the signature lifestyles of old Shanghai.

"Even though people have changed their way of living in Shanghai, many property developers consider only commercial gain and are destroying the old cultures," says Haolun, who earned a Master of Fine Arts degree in film production at Southern Illinois University.

"All these elderly people have lived so closely together for so long, they are like a family. Where could they happily move to?"

Although Mrs Shu passed away last year at the age of 91, her flat at Dazhong Li remains vacant.

Nostalgia will screen at Agnes b Cinema on July 26. Other highlights of the film program include: Crossing the Line (Jul 27 and 29), Manufactured Landscapes (Aug 2 and 4) and Beauty Academy of Kabul (Aug 3 and 5).

Reel Asia, Jul 26-Aug 5.

Agnes b Cinema, Hong Kong Arts Center, 2 Harbour Rd, Wan Chai.

HK$55 students, groups of 10 or more $35.

Book: 2734 9009

（来源：网络电影杂志filmagazine.org撰稿人王小鲁的博客：http://blog.sina.com.cn/u/4a2f8ae301000arc）

来自上海，参展作品：纪录片《乡愁》

时间：5月19日中午于一家饭店

FM：我昨天看了你的《乡愁》，之前在宋庄看了你的《挣扎》，感觉视听语言与国内纪录片的总体上的一个风格倾向都有所不同。这与你在美国学电影有关吗？

舒：我觉得也差不多，但是美国的那个老师呢，他鼓励你帮助你找到你自己的声音，我在美国南伊利诺斯大学（SIU)电影系学习，我们那一拨学电影的，风格都差别很大。我们那一拨留学生比较多，然后各个国家都有，然后回到各个国家去拍，把片子拿回来去放，整个地域文化不一样，风格又不一样，千差万别，美国教育可能就是鼓励你，帮助你寻找到你自己的声音，这是他的一个核心的东西，至于你是否是不是能得奖，你的美学风格和审美趣味是不是受到欢迎，这不是它关心的。

FM：这个我相信，但你与国内做的不一样。比如技术上，还有就是你比较主观，《乡愁》这个片子充满画外音解说词。而且与大陆上90年代的新纪录片的纪实主义有所不同，大陆纪录片人更多受到直接电影的影响，拍摄者的主观隐退，当然这个直接电影是从美国来的，不知道美国现在对直接电影的态度是怎样？

舒：直接电影在美国早就不是一个潮流了。之前的怀斯曼只是这些纪录片大师的其中之一。为什么大家都敬重他，是因为他这么多年来一直按照他的那种风格去做。他从来不改变，他不发展，他就是这样子，他就按照他那个风格去做，包括剪接。现在都用电脑非线剪接，但他不用这个，还是按照原来的那个方法去剪。他们应该是从这个角度去尊重他，直接把他当曾一个活化石去这么看。大家都不这样做了，他还保持电影手工艺人的那个状态。

FM：他现在还在拍吗？他是中国90年代纪录片人的精神导师了。

舒：还拍，但已经不对任何电影现象发言了。有新的纪录片现象出现了，但他已经不针对这个发言了。基本已经退了，进入了教科书的某个章节。

FM：你拍摄《乡愁》是怎么考虑的？从你的风格……

舒：当时我很清楚，我就要第一人称叙事。这就要在形式上有所突破，为什么我要在片子里出镜，原因也就在这里。我拍摄的过程也是一个重访的一个过程。这可能是我最后一次带着摄影机去重访，所以我想把这个过程记录下来，包括我和他们的对话。

FM：发现你还用了一个摄影师。你还自己拿着一个摄影机。结构是：他来拍摄你去拍摄故里的行为。

舒：我手里拿着一个小机器，摄影师拿着一个大机器，数字BETA。我一边在说话，一边手里拿着机器。

FM：你拍的素材和他拍摄的素材最后谁占的比例更大？

舒：这个我不知道，后期剪的时候都混在一起了。你看到那些摇晃的那些镜头几乎都是我拍的。

FM：我感觉是他拍的素材在片子里更多。

舒：对，有一些营造气氛的镜头，我没有办法拍，都是他拍的。

FM：你这里比较有意思的是，里面用了大量摆拍，黑白画面里的内容是不是全是摆拍？

舒：基本上都是。

FM：还用了很多老资料的东西。

舒：老资料的东西你能看出来那是用了老资料。

FM：包括那个电视播音员？

舒：对对对。

FM：在路边吃早点的那个呢，是资料还是摆拍？

舒：买油条的那个？是摆拍的。

FM：但现在这个街和你童年时候的街肯定不一样，你是不是换了一条街来拍？

舒：是换了一条街，但还是那块地方。看起来老一点的地方。没办法后来我帮他们摆了一个水果摊，卖油条的也不在那个地方，但后来我花了钱了，我给了他一百块钱。然后找了群众演员去那里买油条。

FM：你拍这个片子花了多少钱？

舒：还好。因为这个地方主要在我家那一块，顶多是胶片的费用，两三万吧。机器是别人免费借给我的，胶转磁也是上海电视台的朋友喜欢这个东西，给我们免费转的。

FM：用了胶片？哪一块是胶片？

舒：黑白的部分都是用胶片拍的。

FM：这个片子打算在哪里发行？

舒：现在上海有一个民营书店，下面有一个出版公司，要连书和带子可能要一起出。书就是些影集，一些访谈，评论啊。我和上海的一个摄影师陆元敏很熟，陆元敏一直在上海，从80年代末一直在上海拍。他是一个文化馆里的，给领导拍会议的，但他平时就出去拍上海。在出书的时候他给了我一些照片。

FM：你拍的时候是不是借鉴了他的图片的一些东西？

舒：其实我带了我的摄影师去看他。因为我的摄影师不是上海的，是山东的，所以我就特别带了我的摄影师去他家里，跟他聊一聊，谈一谈这些图片的体验。

FM：这个时间你筹备了多长时间？

舒：很快。我02年从美国回来的时候，我奶奶告诉我说大中里要拆，我当时说我操，这个地方说没就没了，我就想我不能去申请这个基金那个基金了，等申请下来这里也没了，我先自己花钱去拍吧，自己先去把它抢救下来吧。当时就是抱着这样一个目的，去抢救这个影像。90%的素材是在02年拍摄的。05年的时候，我再重新拿出来的时候再做了一些剪辑，再补拍了一些东西，周围又有了一些变化。又拍摄了10%。我拍的时候小学还在，我后来拍的时候就成了中凯城市花园了。胶片那一部分是在之前就完成了的。

笠人：你那里头有几个镜头我很喜欢，一个弄堂，里面有几盏灯，大概四盏灯，一个一个亮起来，那个镜头很漂亮。还有搓麻的镜头也很漂亮。

FM：你下面的计划呢？

舒：我下面的计划是我有个剧情片在做。其实，我在这个纪录片里有一些素材，在80年代的素材，由于纪录片媒体的限制，纪录片结构的限制，我没有在这里展示出来，我想再拍一个剧情片，更多是我在80年代的成长经验的东西。

FM：还是一个个人的成长经验。

舒：这个剧情片和这个片子关系可能不大，但是环境可能会有点接近。自己写的剧本。

FM：你是怎么设计的呢？是做一个独立影像的东西，在国外发行？

舒：这个东西，我可能要走国外电影节。

FM：这是你第一次参加这个电影节？

舒：第一次。

FM：昨天你们有一个讨论，听说蛮激烈的。这一块你怎么看？

舒：其实包括朱日坤包括曹恺，他们都认为内容的东西都是很好，排片啊选片啊都很好。但是，怎么让更多的观众来看片，我觉得他们做的有欠缺。独立电影这种东西，市场需要教育、培养，观众也需要教育，你也得培养观众，让他们有这个方面的观影习惯。美国独立电影也有过这样一个阶段，从无到有，走到现在能够和好莱坞商业电影抗衡一点。

FM：这个比较有意思，美国独立电影也开始类型片化。这次影展和他们聊，也说某个片子是类型片，我不知道之前有没有这个意识。

舒：你说的美国独立电影类型化的原因是什么？

FM：一个原因是市场。

舒：一个是市场，再一个就是米拉麦克斯，还有圣丹斯，这些机构开始对独立电影进行体制化，他们也形成一个小体制，当然这个体制比好莱坞那个体制会弱很多，而且相对来说会更人性一点。美国独立电影人的电影若不能送到圣丹斯，对他们的打击会很大。进不进国外的电影节倒是次要。

FM：能不能介绍你上次拍的《挣扎》。律师为工人维权的那个。

舒：挣扎其实是我在美国的毕业作，我还是想回国拍。我想做选题，原来没有回去嘛，我怎么做呢？就看《南方周末》这类报纸，看到这个题材不错，我就报上去了。老师说你去做吧，然后我申请到一个基金会的钱。

FM：拍这个片子的资金状况是怎样的？

舒：没花多少钱，其实拍这个片子很挣的，在海外卖的非常好。这个为什么呢？其实并不是这个片子好，主要还是题材。这是一个全球话题，人权，这是整个国际化的话题，他们喜欢这个话题。这个片子拍倒对我没什么，是最传统的一个拍法。相对来说，在海外也是大家一看就看得懂。

FM：这个片子你说的传统其实是美国纪录片使用比较多的一种拍法。在中国90年以来这些东西一直很少，到现在才好一点，有一些人在自觉的去做，去维护人权参与社会啊，去追求一些比较外在的社会效果。还有一个你与内陆人不同的是，大陆纪录片人比较喜欢用长镜头之类的手法去拍摄人物的状态，但他不把他想给予你的这个状态直接用话说出来。但你讲的比较明白。你这个片子给我的一个印象最深的是，非常直接，许多状态的东西以第一人称的东西说出来了，要么是直接说出来，要么就用字幕。

舒：对。所以那次云之南的时候，有崔卫平和张亚璇那一派认为，这里有违背纪录片规则的一些东西。然后有另外一拨认为非常好，应该鼓励纪录片的多元化探索，不应该让拍的纪录片都一样。

FM：那次是针对的哪个片子？针对的是什么？

舒：也是《乡愁》。当时我不在场，据说在这里有了两三个小时的争论。主要针对的就是搬演的问题，这是不是纪录片的问题。

FM：这个问题其实在中国95年前后就有出现。当时中央电视台一些纪录片栏目就明目张胆地进行了搬演，受到了很大的很多学者的反对，在国外，也是94年左右，出现了一个后现代纪录片的观念，其实一直都在争论这个搬演问题。你怎么看这个问题？

舒：对。其实对我来说，比如那个麦克·摩尔的纪录片，他的纪录片在传统的记录片界里也受到了一些批评和质疑。但你不能不说，正是因为他的纪录片在美国院线放映了，其他纪录片才有了在院线放映的机会。从他开始票房上去了。

FM：我刚才就想说这个，他这个形式是非常容易跟观众进行沟通的。他把纪录片娱乐化了。

舒：对，从他开始后，纪录片大规模上映了。他突破了。就是他突破了其他的纪录片也开始在院线上映，比如去年的那个《抓住弗雷德曼一家》也开始放，这个片子也特别棒。主要的是拍摄那个家庭，一个人和他的父亲被冤枉成是对儿童进行性骚扰，那个家庭里的人习惯把家庭的一些活动拍下来，后来爹死在监狱里面。他以前有很多很丰富的影像资料，最后导演也很认真的进行一些回访……我觉得纪录片和剧情片是用不同的方式去表达一种东西。

FM：我想知道，除了这个商业的开拓之外，对于纪录片本体来说，你怎么看现在西方的这个后现代纪录片（在西方也叫新纪录电影）？

舒：其实所谓的新纪录片在美国有几个是比较有代表性的，一个是麦克摩尔，还有一个汉堡包的那个，名字叫什么我忘记了？让一个小白鼠每天吃麦当劳，看会不会得病。这种东西纪录片里面也很少这个东西。还有一个美国的小孩，从六七岁的时候家里就有8MM摄影机，积累了20多年的影像资料。他是一个GAY，然后他家庭情况也很复杂，他的母亲也被强奸了，他一直生活在一个动荡不安的家庭环境里。他一直有一部录象，面对录象机倾诉，然后把它剪出来，这就是说纪录片到底要拍摄什么东西，不再是在某一个范围，某一个题材，纪录片不再是大家一提到就联想到是关于边缘人群，关于劳苦大众，关于苦大仇深，纪录片开始有变化了。但也不是说它完全脱离了这个东西。现在新纪录片正在发展过程之中，没有办法用有个完全学术的定义来定义它，主要是现在对于过去的经典纪录片有了一个不同程度的解构和建构，切下去一块再加上去一块。

FM：你这个《乡愁》要按照这个新纪录片的观念来衡量，其实是可以作为后现代纪录片的一个标本的。后现代纪录片的观念，在国外国外都有很多争论，主要是关于真实观的争论。

舒：我从来都觉得真实都是相对的。其实都是主观的东西，你剪辑了嘛。我不是说这个东西没发生，我再在现场摆拍，这就不是一个纪录片的问题，而是一个道德问题。

--暨亚洲协会暑期电影系列︰“转出真亚洲”的开幕电影。

http://www.hkac.org.hk/calendar_tc.php?d=20070508&id=391

http://www.hkac.org.hk/calendar_tc.php?id=396

《鄉愁》

開幕電影

導演: 舒浩崙/中國/2006/70分鐘

當導演舒浩崙得知他家三代人曾經生活的石庫門里弄大中里快要被拆遷時，他決定拿起攝影機回去紀錄最後的時光。隨著捕捉將會失去的影像同時，他懷疑有誰真的會為城市發展而著緊？
而改變又對城市、居民、社會有何真實意義﹖ 從和奶奶聊天，遊走於迂迴的弄堂里中，到重拾他兒時生活的片段，純樸溫暖的石庫門生活點滴活現在我們眼前。同時，導演敏銳的觀察和深刻的內心獨白，也真實地反映了居民們為大規模的城市發展所付出的代價。

普通話對白，英文字幕

香港艺术中心 Agnès b. 電影院

2007 年 7 月 26 日
晚上8時

2007 年 7 月 28 日
晚上7:30

票務 :

$55/35*

門票於城市電腦售票網發售

*學生、長者、十人或以上團體

網址 :

www.asiasociety.org/reelasia

參與單位 :

亞洲協會香港中心

贊助：JPMorgan

節目查詢 :

2103 9508, 2103 9504, hk@asiasoc.org

亞洲協會
亞洲協會是非牟利的敎育組織，宗旨致力增進人們對亞洲各國和各文化的了解。
熱切期待一年一度的亞洲協會暑期電影系列將於零七年七月二十六日至八月十一日假香港藝術中心Agnès b. 電影院舉行。踏入第五年，亞洲協會透過各國導演和攝影師的視野，繼續探索亞洲五彩繽紛的文化氣息。過往，我們放映的電影題材有關於孩子、亞洲美食和地區音樂傳統等。去年，我們以「亞洲動起來」系列頌揚亞洲的奮鬥精神。
暑假快將來臨，五齣被受推崇的紀錄片主題包括環境、城市重建、敎育、婦女與社會以及亞洲的發展，將於暑期電影系列陸續放映。先來預告我們精彩的電影節目安排︰《鄉愁》帶大家回頭一看，石庫門仍未在城市發展下讓路給美輪美奐的摩天大樓的上海風貌；《變節》是一個從未發表的故事，講述一個變節的美國士兵在幽秘的北韓四十五年的經歷；《人工風景》是攝影家對中國工業革命後面貌的懾人紀錄，揭示人類發展介入環境進化所帶出的矛盾；《喀布爾美容學院》幽默地道出一群美國美髮師在亞富汗開設美容學院引伸的文化衝擊﹔《高三》則描寫一群福建高中三年級學生如何對抗由考試主導，令人窒息的中國敎育制度。

Nostalgia

Opening Film

Dir: Shu Haolun/China/2006/70 mins

When director Shu Haolun learns that the neighborhood in Shanghai that he grew up in will soon be demolished, he takes his camera home to record the traditional skikumen houses. As Shu tries to document what will soon disappear, he also questions whether people are really enamored with progress and what change will mean to the city, to neighborhoods, and to communities. Moving between chats with his grandmother walks through old alleyways, and reenactments of his childhood, the film is an entertaining but pointed and poignant diary about the price we pay for urban development.

In Putonghua with English subtitles

Hongkong Arts Center  Agnès b.CINEMA

26 Jul 2007
8pm

28 Jul 2007
7:30pm

TICKETING INFO :

$55/35*

Tickets available through URBTIX outlets

*Students, seniors, groups of 10 or more

RELATED URL :

www.asiasociety.org/reelasia

PRESENTED & ORGANIZED :

Asia Society Hong Kong Center

Sponsor: JPMorgan

PROGRAMME ENQUIRY :

2103 9508, 2103 9504, hk@asiasoc.org

Asia Society is a leading non-profit educational organisation dedicated to furthering understanding of the countries and cultures of Asia.
The much anticipated annual Summer Film Series presented by the Asia Society will be screened at the Hong Kong Arts Centre Agnès b. CINEMA!
from 26 July to 11 August, 2007. For the fifth year, the Asia Society continues to explore Asia and Asian culture through the eyes of international directors and cinematographers. In the past, we have featured films about children, Asia’s fascination with food, regional music traditions, and last year, we celebrated Asia’s competitive spirit with the Games of Asia Series.
With summer right around the corner, we have lined up five critically acclaimed documentaries that examine topical issues such as the environment, urban redevelopment, education, women and society, and developments across Asia. Highlights of our eclectic selection of films include Nostalgia, a moving look at a neighborhood of traditional shikumen houses in Shanghai before bulldozers move in to mak e way for gleaming skyscrapers; Crossing The Line, the never-been-told tale of an American soldier’s defection and life in the secretive nation of North Korea; Manufactured Landscapes, a powerful film about a photographer’s attempt to document the industrial revolution in China and the impact of human intervention on the planet; Beauty Academy of Kabul, a humorous and thought-provoking look at culture clashes as a group of American hairdressers open Afghanistan’s first post-Taliban beauty school and; Senior Year, an engaging story of high school seniors in Fujian as they prepare for their grueling entrance exams and battle the stifling Chinese educational system.

http://www.shanghaidaily.com/sp/article/2007/200703/20070327/article_310398.htm

Tales of the City

By Yao Minji 2007-3-27

Shanghai is no longer home to scintillating cinema, but it is home to some interesting documentary filmmaking. Here are three takes: an artsy diary of a girl's summer, free legal aid for injured construction workers, and the city's hip-hoppers, writes Yao Minji.

Shanghai's documentary film scene is varied and distinctive. While it may not be vibrant and it certainly is not well-funded, a few determined filmmakers carry on valiantly to convey artistic messages - even if they have to pay from their own pockets.Though Shanghai is no longer the Hollywood of the East, it does have its documentary filmmakers with their personal styles, methods and theories. They face the common problem of documentary makers throughout China - lack of funding.The heart of the problem is that Chinese viewers are not accustomed to the documentary style - they want entertainment. Some documentaries meet that standard of good storytelling, but most don't.
"It is too easy to blame everything on the lack of a system (to nurture talent and distribute films). But in fact, the distribution system has to be powered by the audiences - and audiences are not accustomed to watching documentaries," says Zheng Qiong.Zheng is president of Beijing Channel Zero Media, considered the main professional documentary film distributor in China and the last refuge for documentary filmmakers short of funding.
Here are three examples of noteworthy documentarians and their works. One work is financed out of their pockets; another is financed by foreign institutions; the third is funded by Shanghai Television Station's Documentary Channel.

The Independent Take
Shu Haolun, a film professor at Shanghai University and an independent filmmaker, went to the opposite end of the spectrum for his film, "Nostalgia."
The documentary about vanishing shikumen (stone-gated) buildings and their residents was done in a personal style, with Shu himself often in the frames, emotive background music from the 1980s when he lived in the area and even a few re-enacted scenes from his childhood.
In fact, Shu calls it "a personal essay film" rather than "a classic textbook-defined documentary," like those he studied when obtaining a master's degree in fine arts from Southern Illinois University in the United States.
The film was widely successful among both local and foreign audiences and filmmakers. "Nostalgia" won the Reel China 2006 Best Documentary Award and Shu considers it a very Chinese film.
"It is not a stereotypical Chinese story looking for an international market," notes Shu, who funded it from his own pocket. "Certainly, film is an international language, but after all, it is culture-related and there is always something lost in translation."
His idea for a master's degree film project was dismissed as not reflecting American culture. That motivated Shu to return to China to make films. His first project in 2001 dealt with a subject more attractive to foreign producers and audiences - workers' struggles.
"Struggle" depicts a Shenzhen lawyer who provides free legal services and shelter for construction workers permanently injured on the job. The lawyer himself was once a construction worker and understood their suffering. The film was more in line with the classic documentary.
Taking advantage of his language and study in America, Shu applied to various institutions for funding and managed to obtain financing from the Jan Vrijman Fund of the Netherlands and the Swiss Agency for Development and Cooperation. "Struggle" was honored at many international film festivals and aired in Europe.
Given his experience in getting foreign funds, it is rather strange that Shu funded "Nostalgia" out of his own pocket. Shu explains that "Nostalgia" was just so special for him that he decided to start without outside funds because the process is time-consuming.
He agrees it's extremely difficult for independent filmmakers to get funding, especially for documentaries.
"Not many Chinese people or companies would even invest in fiction films, not to mention documentaries," says Shu. "Plus, there is no organizational funding for documentary films here."
And at least in the near future, he still considers overseas funding as his main support.
"Nostalgia" has been shown only within museums and colleges in China and film festivals overseas. Now, Shu plans to release it on DVD.

  Local Services: Beijing | London | Sydney | Washington | Beyond Beijing

2007-03-15 Stone Gates of Shanghai

http://english.cri.cn/4026/2007/03/15/1361@205680.htm

    2007-03-15 13:32:07     CRIENGLISH.com

The poster of documentary "Nostalgia"

Listen more on Voices from Other Lands

In the 1920's to the 40's, new housing neighborhoods known as shikumen, were being built all over Shanghai. The architecture is a mix of Chinese and western influences. In Chinese, shikumen means "stone gate", referring to the carved-stone pillars and archways that adorn these houses.  At one time, 80 % of Shanghai's residents lived here, hanging their laundry outside, watering their plants, and playing mahjong. But over the past two decades, most of these neighborhoods have been torn down by developers, making way for skyscrapers and shopping districts.
Documentary film maker Shu Haolun grew up in a shikumen called Dazhongli. His grandparents first moved there in 1936. When he found out a few years ago that Dazhongli was also to be demolished, he picked up his camera and began making the documentary "Nostalgia." The film came out in June of last year, not in theaters, but in museums, universities, and other public venues. So this week, I met up with film maker Shu Haolun in Dazhongli to talk about his film "Nostalgia" and what he will miss about these last traces of old Shanghai.   

新加坡《联合早报》3月19日 记者：吴新慧

纪录片《乡愁》牵动上海心

　　上海青年舒浩仑（32岁）对上海追求“干干净净”和工整化的城市管理既忧心又有意见。“像吴江路这么有特色的地方，非得把它工整化不可吗？小摊小贩的卫生问题是可以解决的，不一定都要把他们规划到室内经营才叫卫生。”
　　舒浩仑两年前拍摄了纪录片《乡愁》，记录他一家三代都曾在那里生活的大中里老街。建于1925年的大中里街坊也在静安区，是上海最老的石库门里弄之一。这里原有住着1600户人家的房子在老区改造计划下都将拆除，改建为商业大楼与广场。
　　舒浩仑说，老街坊仍在动迁过程中，但部分已搬迁。而他摄制的《乡愁》，“是要缅怀这个生我养育过我的地方”。这部70分钟的纪录片，在去年美国第三届REEL CHINA当代中国纪录片双年展中得最佳纪录片奖，在上海的一些社区放映时也引起很大的反响。
　　舒浩仑的老奶奶去年9月过世，一家人也已迁出这老邻里。而影片得奖以及获得许多上海人的共鸣，使他更感觉记录老上海的需要。
　　“更重要的是记录和反思。中国这些年来有大量的地方被拆迁，像《乡愁》这样的片子是很容易引起共鸣的。片子虽然是我个人及家庭的记忆随笔，但上海很多角落都在发生同样的事，大家都有同样的乡愁情怀。”
　　这位在上海大学影视学院执教的青年，2005年到过新加坡，他感觉新加坡就像个很大的办公室，整整齐齐，干干净净。“但城市不是医院，太干净和工整化，就失去生机和历史沉积的味道。”
他很担心上海的城市管理会盲目向新加坡学习。在他看来，亚洲城市在二战后急于现代化建设的过程中，都在仿照西方的现代建设，使亚洲——包括中国各地形成千篇一律的城市。
　　“现在是到我们反思自己的城市建设和现代化的时候了。现代化是不是只能有现代设施？为何不能让新旧共存，允许一些看起来有些不规则，但却吸引着市民的心灵和感情的角落存在？”

纪录片《乡愁》放映

2007年02月09日07:56

http://news.sohu.com/20070209/n248137867.shtml

来源：东方早报 ，记者：马俊

　　“记录”———上海当代艺术馆（MOCA）纪录片放映活动2月7日晚进行了第三部纪录片的放映———舒浩伦导演的《乡愁》。由于观众实在太多，只好在底楼和二楼分成了两个放映现场。很多观众席地而坐，在70分钟里，时不时有会心的笑声和群体的静默。

这部纪录片和前两部相当不一样，甚至它都不太像一部纪录片。导演舒浩伦用十分主观的方式讲述了一场关乎自己情感的故事，他回访了自己从小到大居住过的石库门里弄大中里。在这里，他高龄的奶奶、邻居婆婆，以及形形色色的旧邻纷纷出场，向镜头展示了他们生活的一些片断。

　　导演采取的叙事方式是相当松散的，他几乎不用考虑所谓的结构，也不用像通常的纪录片那样要跟随着某一些人和事件的变化发展进行拍摄，并对素材作出主线辅线、孰轻孰重的抉择。他只是带着镜头，走进了自己过往的生活之中，时不时停下来讲述一番自己小时候这里是什么样的。于是，二三十年前的大中里就在想象中呈现出来，并迫使观众将当年的情景和现在进行对比。一个回忆中温暖的大中里，和一个即将拆迁或改建成新天地的大中里；一个生活得卑微却平衡有序的大中里，和一个置身商业大潮消费时代冲击下即将荡然无存的大中里……互为表里的大中里，在自我的分裂和外力的冲撞下走向了无可挽回的乡愁。

　　为了强化这样的感觉，导演一再违背了纪录片的原则。他甚至用搬演场景来表现自己童年的回忆。比如在一个“丁”字路口上方的窗口，他曾经俯瞰路上的行人。导演本人甚至在镜头前出现，并作为第一人称的向导。他将一场公共叙事在如此私密的情感方式下完成了。他的主观简直到了极致，甚至他将张艺谋拍摄的申奥和申博的电视片镜头搬用到了自己的片子中，并在黑屏幕上用硕大的字幕“我怀疑”、“我不信”来表达对壮观都市背后和人性相悖部分的不满。

　　舒浩伦在放映会之后的讨论会上说：奶奶已经去世，邻家婆婆也不在了。生前，她们很担心拆迁。死亡，对她们来说或许是个好结局。

　　可是，乡愁却依旧弥漫在我们当中。哲学就是怀着永恒的乡愁寻找家园。不管生在何处、身在何处，精神曾经居住的地方就是故乡。