【心中韩影】 [原创] 六人视线——一幅韩国社会的风情画

tea · 发表于 2004-6-15 16:07

【三言两语】 [原创] 六人视线——一幅韩国社会的风情画

  《六人视线》是由韩国六个导演的六部独立短片组成。在这里充斥着不同人物的生活：少女们，小孩儿，残疾人，男人和女人还有外国人。按惯例这样单独的低成本影片显然是不会被人重视的，但这六部放在一起，情况就有了变化，效果很不错。其中一部叫《Never Ending Peace And Love 》还是朴赞旭执导的。

早在七十年代韩国电影就有了一种叫“Ｓｃｒｅｅｎ　Ｑｕｏｔａ”（电影配额制），当时韩国电影界受到好莱坞电影很大的冲击，韩国电影数量不断减少，电影院为了自己的票房利益，希望只上映好莱坞电影，针对这种情况，政府就制定了Ｓｃｒｅｅｎ　Ｑｕｏｔａ制度，规定电影院在一年内必须上映１４８天本国电影，如果违反，会采取法律上的措施。但90年代初美国占领了韩国７０％－８０％的电影市场，很多影片代理商和影剧院都希望有更多的时间放映好莱坞影片，同时韩国的经济部为了更好地跟美国进行贸易交往，也给文化部以压力，让他们取消Ｓｃｒｅｅｎ　Ｑｕｏｔａ制度，很多爱国电影人都意识到了这场危机，于是就剃光了头举行抗议。其中站在游行队伍最前面的是素有韩国电影教父之称的林权泽（２００２年的《醉画仙》让他获得了戛纳电影节“最佳导演”，创造了韩国历史上的“第一次”）。据说当时朴赞旭也剃了光头。那时他女儿１０岁，他说：“我不能让女儿长大以后只知道美国，看只有字母的影片，没有自己的影片”。
  98年“光头运动”后，Ｓｃｅｅｅｎ　Ｑｕｏｔａ制度得以保存，一些青年导演的独立电影可以有机会在本土影院里上映，韩国电影从此迅速起飞上升，直到今天的全盛。

  回顾完这段历史，再来看这六部短片似乎又增加了另外一层意义。

  我个人很喜欢第一部短片叫《她的体重》。

  影片开始很有趣，女高校的课堂，画外音老师正在点名。

“宋恩美，宋恩美到了吗？”无人应答。“啊，原来是做整形手术去了。”老师自言自语到。

“姜敏智”“到”。

“啊，你的双眼皮儿，很好看，在哪拉的？”

“老师，不要吗….”，姜敏智难为情的低下头，抠着手指。

  突然，一名女生破门而入。“对不起，老师我迟到了。”

“你是谁呀？”

“宋恩美”

“真是恩美吗？，我几乎认不出你来了!”教室里羡慕的目光齐刷刷投向宋恩美新拉的双眼皮儿。

“在你们毕业以前，现实点儿比其他事情更重要。首先是形体，其次还是形体，在镜子面前多修饰自己，这样就没问题了。这就是新学期第一天，我希望你们了解的东西。下课。”

  画面中，终于出现了老师的肥胖身影，她正缓缓走向宋恩美，耳语到：“你是怎么减的肥？一会儿到办公室告诉我。”

《她的体重》整部片子不到半小时，一直在讲述一名叫善京的女孩儿的苦恼。很不幸，善京长着一张韩国人常见的大饼子脸，小眼睛，单眼皮，塌鼻子，身材矮小臃肿，毫无女人味。她同班同学都在拼命的减肥，拉双眼皮儿。学校老师也在不断施压，放学后例行要称体重。当善京战战兢兢的上了称，她心里肯定在为自己中午那顿肆无忌惮的饱餐而后悔，耳边又照例想起老师的训斥到：“66公斤，你疯了！我真替你发愁，你以后怎么去找工作，怎么去约会，怎么去结婚？很多公司是不会给体重超过50公斤的人面试机会的。”

  可怜的善京，她也想去减肥拉双眼皮，可是妈妈不给钱，她想打工自己挣，可应聘的机会又被一个比自己漂亮苗条的女孩儿抢走了。善京走投无路，真的要疯掉了。

  看到这，让我觉得韩国社会简直好恐怖。花季少女的“成人礼”竟是拿自己打工挣的钱去做整形手术。影片自始至终笼罩在一种无形的压力中，使人喘不过气来，这种压力实际来源于男人们。男人是整个韩国社会的主宰，男人们用他们制定的道德标准，审美标准去统治全社会。而女人们在这个以貌取人的社会，别无选择，从小就要被灌输如何修饰自己，看似是为了未来适应社会的需要，实际是为取悦男人们的感官刺激。

  影片结尾是应聘的场面，女孩子们一字排开，主考官是清一色男人，在对她们品头论足。刚做完眼皮整形的善京带副大墨镜怯生生地站在最尾，在男人们的一再要求下，她缓缓摘下墨镜，全场爆发出一片哄笑，她的小眼睛，她的那双刚拉完双眼皮的小眼睛，依旧还是那么丑陋难看…
.
  影片拍摄花絮中，一个行人在问：“你们在拍什么电影？”

  有几个行人甚至好奇的凑了过来：“导演是谁?是那个高个吗？啊！原来是那个肥姐呀！

  镜头特写：哇！导演真是个肥姐！

  看完这部影片后，我终于明白为什么韩国女人都要疯狂地去做整形手术了。

[ Last edited by kittymimi on 2004-7-2 at 09:32 PM ]

阿韩 · 发表于 2004-6-15 17:48

这六部短片偶都粉喜欢，多谢楼主的分享^_^
有空再来详谈，先转来一些资料～～～～～

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14日首映的韩国影片《六个视线》（韩国国家人权委员会监制），是一部以独特素材诱发好奇心的作品。各自具有不同风格的林顺礼、郑在恩、吕均东、朴振杓、朴光洙和朴赞旭等6位导演，通过短篇电影表现了他们每个人对“人权”的解释。

若因为其主题和监制机构，将这部电影视为陈腐的国立影片，那就大错特错了。富有少壮感的6名导演发挥想象力，使“人权”这一沉重的主题“减减肥”，给人以轻松的感觉。那种可能与“趣味”搭不上边的成见，将因独特的素材和实实在在的剧情，过不了10分钟就会化雪一样消失。

该片通过“即将就职的外貌平凡的女高中生”、“网上被公开身份的性犯罪人”、“外出不便的脑瘫残疾人”、“为英语发言切除部分舌面的孩子”、“因外貌与职业不相配召惹是非的停车场女职员”以及“因语言不通而在精神病医院被监禁6年4个月的尼泊尔女人”等故事讲述“人权”是什么。

若认为这部电影一定是惊人的故事，那你会认识到“这种司空见惯的一些事情也会是人权问题”，受到强烈刺激。“假如你是我”（If you were me）这一副标题，内含这部影片的主题。如果认为自己不是社会的弱者，就不可能100％认同这些故事。但是也许有许多观众通过这部电影，可以认识到“或许我也会有如此遭遇”，并重新理解“人权”这一词汇含意。

fm:体育朝鲜

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Six popular Korean film directors have collaborated on an omnibus film that presents their respective views on human rights violations in Korea.

Entitled "If You Were Me," the movie is produced by the National Human Rights Commission of Korea and distributed by Big Blue Film (Chungeorahm). The underlying theme of the film is of discrimination and features issues including societal conceptualizations of feminine beauty and discrimination against foreign laborers in Korea.

The titles of the six episodes are: "The 'Weight' of Her" by Yim Soon-rye, "The Man With an Affair" by Jeong Jae-eun, "Crossing" by Yeo Kyun-dong, "Tongue Tie" by Park Jin-pyo, "Face Value" by Park Kwang-su, "N.E.P.A.L. (Never Ending Peace And Love)" by Park Chan-wook.

The movie was screened at the opening of the 4th Jeonju International Film Festival and the 8th Pusan International Film Festival in addition to various other international film festivals last year.

One of the six episodes, "The Weight of Her" deals with a plump third-year high school female student who, despite her mother's opposition, decides to receive a double eyelid operation in order to look more attractive and to enter the job market easily.

"The Man with an Affair" invites the viewers to the world of a social outcast who lives in an apartment and who arouses the interest of a neighboring boy.

Director Yeo's "Crossing" offers the audience a sober glimpse of the physically handicapped through the portrayal of Kim, who suffers from cerebral palsy.

In "Tongue Tie," a mother forces her young son to have tongue surgery in order to pronounce English better.

"Face Value" portrays a dispute between a handsome driver and a beautiful girl working at a public parking lot. The episode deals with societal pressures relating to beauty and image.

Based on a true story, "N.E.P.A.L" focuses on the discrimination of foreign laborers in Korea through the story of a female Nepali laborer who becomes imprisoned in a mental hospital due to neglect.

The six ambitious directors challenge time-honored filmmaking styles and ask several thought-provoking questions as to why discrimination exists and also attempt to provide meaningful answers.

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It’s an obvious truism that portmanteau features are always mixed bags, but this anthology of shorts by six leading Korean directors is more coherent than most – largely because it was made for the National Human Rights Commission, and so all but one of its episodes deals with a human rights issue.

The exception is Park Kwang-Su’s neat little car-park ghost story, made before the project picked up its focus.

Park Chan-Wook (of Sympathy for Mr Vengeance) tackles racial prejudice and the economic exploitation of immigrant workers through the real-life story of a Nepalese woman in Korea.

Jeong Jae-Eun (of Take Care of My Cat) tackles the plight of a paedophile released into the community. Yeo Gyun-Dong invites disabled actor Kim Moon-Joo to re-enact his most famous protest.

And, in the two best episodes, Im Soon-Rye (of Waikiki Brothers) goes for the engrained sexism of Korean men with superb wit 。

Park Jin-Pyo (of Too Young to Die) confronts the horror of children forced into oral surgery to improve their English-speaking ability.

A welcome counter-balance to the blockbuster tendency in current Korean cinema.

Tony Rayns

http://www.lff.org.uk/films_details.php?FilmID=116

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"if you were me" (2003)
When the new film "if you were me" debuted at the Jeonju International Film Festival in April, some strange noises could be heard from the theater. First came the laughs. Was it a comedy? Then came the sighs. Was it a melodrama? Then came the shrieks. Was it a horror?
Strictly speaking, the answer was none of the above. To be a comedy, it was too serious. To be a melodrama, it was too ordinary. To be a horror, it was too real. "if you were me" was an omnibus film that brought together six short films by six local directors to tackle the issue of human rights in Korea.
The project, funded by the Human Rights Commission of Korea, asked each filmmaker to contribute an episode dealing with the issue of human rights through his or her unique perspective and style.
The six local directors who rose to accept the challenge were a motley crew of four men and two women; a hodgepodge of old masters like Park Kwang-su ("A Single Spark") and newcomers like Park Jin-pyo ("Too Young to Die"), commercial powerhouses like Park Chan-wook ("JSA") and cult favorites like Lim Soon-rye ("Waikiki Brothers").
The result is an uneven and sometimes jarring experience that reflects the cacophony of personalities behind it. Nevertheless, "if you were me," opening this Friday for the general public, is a rare piece of work with a message for everyone.
"The Weight of Her," directed by Lim Soon-rye, sneaks into a girls' high school to expose how the pressure to look thin and beautiful distresses the students. The truly disturbing part is that the teachers and parents are actually the ones telling the girls that appearance equals success. The short film features a sardonic humor that does not blunt its hard-hitting point.
Jeong Jae-eun's "The Man with an Affair" takes a highly stylized approach in depicting how a child who wets her bed is forced by her mother to beg her neighbors for salt in the traditional Korean way of punishment through shame. Meanwhile, a registered sex offender lives in the same apartment complex. Apparently, the short film is targeting the practice of humiliating others, but the unorthodox visual narrative dominates whatever meaning lies behind it.
"The Crossing," directed by Yeo Kyun-dong, is a series of 11 scenes from the life of a person who lives with cerebral palsy. Small moments, such as listening to ridiculous music as he takes the handicapped lift up the subway station stairs as if he were a child on an amusement park ride, show the daily indignities he must endure.
Lasting just 12 minutes that feel like an eternity, Park Jin-pyo's "Tongue Tie" may be the most riveting short film of the bunch. Well-intentioned parents force their child to get a tongue surgery for improved English pronunciation that was the topic of news a while back. Set to the background of a colorful office with a television monitor playing animation and a nurse dressed up as a bunny, the short film mixes graphic footage of the tongue being snipped and tied.
The director who made waves last year with his unflinching look at septuagenarian sex in "Too Young to Die," once again refuses to take the camera away at the crucial moment, producing a tour de force with his inimitable style stamped clearly on it.
"Face Value," directed by Park Kwang-su, portrays an argument between a male driver and a female parking garage employee. The spat begins when the man remarks that the woman's occupation does not suit her good looks. Perhaps the short film is dealing with a form of discrimination that often gets ignored: the pain of being thin and beautiful and the misery of people thinking that you are too good for your job. The connection to the issue of human rights is fuzzy, and the eerie ending is more perplexing than instructive.
Park Chan-wook's "Never Ending Peace and Love" is based on the incredible true story of Chandra, a Nepalese factory worker in Korea who languished for over six years in a mental institution after getting lost without proof of identification. Shot almost entirely from Chandra's perspective, the short film is a scathing indictment of how someone who was different was considered to be insane in Korea.
Despite the disparate perspectives and styles, the six short films in "if you were me" ultimately combine to deliver one message loud and clear: Human rights are not an issue limited to faraway countries or the faraway past but are the small moments we see around us every day.

By Kim Jin

(kimjin@heraldm.com)

[ Last edited by 阿韩 on 2004-6-15 at 06:00 PM ]

阿韩 · 发表于 2004-6-15 18:02

转来阳阳以前的评论～

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by 阳阳

Originally posted by 阿韩 at 2004-5-23 11:20 PM:- X j ~3 K+ I8 Y3 L
是黑白短片，关于人权问题的《六个视线》的第六章，社区有提供下载的！偶看过，很棒！

在没有预景的情况下看了此片，是让人精神一振的不可错失的影片。
六个故事在不同风格的演绎中展现了生活中被人们忽视的现实，从个体的痛苦经历中看到社会中存在的偏见、冷漠、歧视、灵异、种族等等现象，引发观众对人权的思考。

在六个故事中，“即将就职的外貌平凡的女高中生”让人看到女性就业的困境及所面临的苛求，也是现在越来越多女性不惜动刀来获得就业机会。而结果往往事与愿违。

“网上被公开身份的性犯罪人”看到人性的冷漠，受到母亲罚责的小男孩最后不得不走向那个罪犯求助。
“外出不便的脑瘫残疾人”让人同情他的遭遇，他要实现小小的愿望也是如此艰难，这个影片让我想起绿洲。
“为英语发言切除部分舌面的孩子”，是西语比母语的重要性令到年幼的孩子承受起肉体的痛苦，一口流利的外语是不是可以抵消在他童年时留下的痛苦记忆。
“因外貌与职业不相配召惹是非的停车场女职员”的情节设置，颇有趣味，鬼魅的故事终止在意犹末尽时，更让人回味不已。
“因语言不通而在精神病医院被监禁6年4个月的尼泊尔女人”，这个最后一章因翻译的残缺不全，影响了影片所要传达的内容，让人憾然。

此片的海报相当的有意思，除了朴赞郁直视镜头的似笑非笑外，其余五位导演皆作顾盼流离状，手舞足蹈之间消融了导演在镜头后的严肃意味。

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[ Last edited by 阿韩 on 2004-7-10 at 09:25 AM ]

阿韩 · 发表于 2004-6-15 18:59

http://img.movist.com/?img=/x00/00/77/35_p1.jpg

海报上便是六位才华横溢的导演啦，这个造型设计的确很有创意^_^

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上排左数第一个——朴光洙，是第五部短片Face Value的导演。从巴黎求学归来后拍摄处女作《七洙和万洙》（1998）。其代表作应该是1996年的《全泰日》（A Single Spark），这部的剧本还是李沧东写的呢！
《全泰日》（A Single Spark）：

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上排中间——郑在恩，是第二部短片The Man with An Affair 的导演。大学毕业后一直在拍短片。第一部也是目前唯一一部长片是2001年的《猫咪少女》，凭此处女作一鸣惊人，才女啊～！！猫咪少女是偶非常喜欢的电影，也只有心思细密的女性导演才拍得出来～

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上排右数第一个——林顺礼，是第一部短片The Weight of Her 的导演。林顺礼也成留学法国，长片代表作《威基基兄弟》是偶相当喜欢的电影。林导演比较胖，所以在第一部短片结束时还自嘲了一番^_^身体力行的批判，有趣！

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下排左数第一个——朴进彪，是第四部短片Tongue Tie 的导演。这也是个相当特立独行的导演。其长片代表作《七十好年华》（Too Young to Die），无论你是否能接受，你都不可否认影片本身是个大胆的创举！

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下排中间——朴赞郁，第六部短片Never Ending Peace and Love的导演。大家都认识他了偶不多讲了。朴这次的黑白短片完全是以女主人公的视角去拍摄的。

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下排右数第一个——吕均东，第三部短片Crossing的导演。长片处女作《Out to the World》。名作<美人>. 吕均东当起演员来也有一套，在经典伦理喜剧片《淘气烘面包》（朱努明家的面包店）中有出色表现。
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[ Last edited by 阿韩 on 2004-7-10 at 09:26 AM ]

tea · 发表于 2004-6-16 20:21

谢谢阿韩的用心，你提供的影片背景资料我已悉数看过，感到好像经过高人指点，对影片有关“人权”的深刻内涵又有了新的了解。

  你也知道，《六人视线》属于青年导演的独立制作的实验性影片，所以不会有太多人关注，相信本社区看过此片的人也不会太多。我之所以选择这样一部曲高和寡影片作影评，是想告诉大家韩国电影之所以有今天的成就，多少要归功于Ｓｃｅｅｅｎ　Ｑｕｏｔａ制度得以保存（墨西哥也有这样的Ｓｃｒｅｅｎ　Ｑｕｏｔａ制度，取消后没过几年他们的电影基本上就消失殆尽了），使一些默默无闻的青年导演的独立电影可以有机会安全地在本土影院里上映，这些的青年导演有一个共同点，就是既看到过外面世界的精彩，又懂得如何脚踏实地的根植于本土文化，不断发掘韩国社会问题、关注韩国底层平民的状态。

  我最佩服９８年韩国“光头运动”的时候，林权泽导演作为德高望重的长者走到了抗议的最前线，带领韩国中坚电影人直击好莱坞对韩国的入侵。他说过：“为了韩国电影，我可以去死！”当然金基德，朴赞旭和姜帝奎也都剃光了头参加了这场运动。

  我一直认为韩国民众是很具有凝聚力的，一旦把个人命运上升到国家民族的高度，这种凝聚力就会爆发一种坚不可摧的深远力量并影响几代人。在这里我们完全可以把“光头运动”看作韩国电影顺利腾飞的起点，从那时起世界和本国民众都开始关注韩国电影了，而《六人视线》就是在这种关注中产生一股新力量。

  我们韩剧社区每天都有网友不停地发帖，回贴，对韩国电影，韩剧及韩国艺人褒奖有佳，但很少有人对我国电影现状加以反思。

  在我看来2000年以后中国电影就已经开始全军覆没了。新一代电影人浮躁拜金，老一代人故步自封，缺少前瞻和反省，更有甚者对韩国电影电视剧盲目追风甚至抄袭。就连张艺谋和王家卫也还在原来的套路里转圈子，拍电影好像只是为了参加某个电影节而赶场子。我们中国电影人真应该好好地向韩国的“光头”勇士们学习啊。

  也许说得太远了，我只是个普通的观众而已。

  我在韩剧社区初来乍到，虽然发现韩国电影讨论区远没有贴图区，明星区点击率高，但却一直对它情有独钟。这里看似缺乏一群媚骨追星的小Fans，但多的是冷静的审视，深刻的思考后的客观评价。我想这要感谢版主阿韩对本版块的最初基调和舆论导向的定位，使它在韩剧社区中始终保持一份明净的单纯与高层次的冷峻。

  最后还要感谢版主阿韩的辛勤工作，为各位网友在本版及翰文轩转帖的各种信息资料，它们大都视角独特，我在细心读过后，真是大开眼界，大长见识。

阿韩 · 发表于 2004-6-18 16:08

Originally posted by tea at 2004-6-16 08:21 PM:
( T ~0 v4 X9 T0 Q0 E3 P( f( G谢谢阿韩的用心，你提供的影片背景资料我已悉数看过，感到好像经过高人指点，对影片有关“人权”的深刻内涵又有了新的了解。$ H: l0 ~' d9 Z6 g6 _1 C

* T) G. }7 @6 }7 u( P 你也知道，《六人视线》属于青年导演的独立制作的实验性影片，所以不会有太多人关 ...

tea真是用心良苦！！跟你比起来，偶只是个把韩国电影当娱乐的影虫而已。惭愧，实在配不上你的那些溢美之词！不过还是很感谢你对这里的支持和关注！！这里缺少的就是像tea这样的影迷，“保持一份明净的单纯与高层次的冷峻”——我们一起努力！

[ Last edited by 阿韩 on 2004-6-18 at 05:33 PM ]

visitor · 发表于 2004-6-19 17:48

我也偏爱第一个短片。

最近听说韩国文化部正考虑要取消Ｓｃｒｅｅｎ　Ｑｕｏｔａ，说是因为韩国的本土电影市场占有率已经不可同日而语了，远远甩开了好来坞，所以没必要再受到保护，应该开放竞争，在更开放的市场竞争中塑造自身实力。一些电影人，特别是现任文化部长李沧东占成取消。但还是有很多人反对，尤其是大学生们。

阿韩 · 发表于 2004-7-16 00:12

Originally posted by sjc103 at 2004-7-10 05:44 PM:: {" O3 p" _$ P9 M6 L+ [# V2 P# i
此片是否就是韩国优秀短片选？0 D% C4 i. [+ a% Z E6 C1 Z
我去找了看看．

不是~

==========================

from：百老汇——韓國電影新勢力 by Frog

生命，該由我話事！

但自出娘胎，生活的大大小小，或多或少的由其他人操控、被社會的價值觀影響。假如你是戲中人，又會如何是好？

六位知名韓國導演，齊齊執導六齣短片，一起由人性出發，以人情味去詮譯人權這議題。

〈生命中不能承受的重量〉（林順禮）的女高中生，為要畢業後尋得一官半職，展開了一連串瘦身兼割雙眼皮的行動；

〈那男人那家事〉（鄭在恩）的小孩，竟然光著身子，走到通緝犯鄰居借鹽！

〈離家，出走〉（呂均東）說的是患有痙攣的主角，第一次離開十八年的老家的一段經歷和啟發；

〈黐筋〉（朴珍杓）的小孩被逼要進行手術，目的是要讀英文時發音更準；

〈面目全非〉（朴光洙）說的是人不可以貌相，更可況……；

〈有口難言〉（朴贊郁）探討語言障礙，一名尼泊爾女子流落異鄉的真人真事。沒有上綱上線，純以平常心看世界。六段之一，再次證明：揚威康城的朴贊郁（《Old Boy》），實屬有料之人。

阿韩 · 发表于 2004-8-9 23:58

相关联接：
六人视线——一幅韩国社会的风情画
隱形的橙色汗衫--- 假如你是我(六个视线)

[ Last edited by 阿韩 on 2004-12-17 at 11:14 AM ]

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