295 紀實與紀錄片

可按下圖片放大！

最近又買了一套紀錄片，片中有一段很有意思的話，摘錄如下：


Cartier-Bresson, the photographer, used to say that photographing people was appalling. That it was some sort of violation of them. It was even barbaric, he said. Because you were, essentially, stealing something from them. You were imposing something on them. He sensed the inherent unfairness of this transaction.

All writer, all storyteller are imposing their own narrative on something. I mean all art, in some ways, is a lie. It looks like a picture of something, but it isn't that thing. It's a representation of that thing. Your documentary is, on some level, going to be a lie. It's your construction of things. I mean, I'll say that right now, if you'd like. It's true. I mean, your documentary itself, going to be a lie. It's your construction of things. It's how you wish to represent the truth, and how you've decided to tell a particular story. By that I don't mean that certain things don't happen. Of course they do. It's not that there is no such thing as truth. But we come to like and trust a certain story, not necessarily because it's the most absolutely truthful, but because it's a thing that we tell ourselves which make sense of the world, at lease at this moment.

Michael Kimmelman
Chief Art Critic - The New York Times

攝影家卡提布列松曾說過，拍攝別人於照片內很可惡，這對他們是一種侵犯甚至很野蠻，他說，因為基本上你是在偷走他們的一些東西，你把一些東西强加於他們身上。他瞭解到這種交易在本質上的不公平。

所有作家、說故事者都把他們自己的敘事方式强加於某些事物上，我是說，在某方面而言，所有的藝術都是謊言，看上來像是某個東西的圖畫，但卻不是那個東西，而只是代表了那個東西而己。你的紀錄片，在某個層次上將會是個謊言，這是你在組合事物。我現在這樣說，別介意，這是事實。你的紀錄片本身就會是個謊言，它是事物的組合，是你想要代表事實，以及你決定要訴說一個特定故事。我不是指某些事情沒有發生，它們當然發生了，真理並非不存在。但我們傾向喜歡、信任某種故事，不見得是因為它最真實，而是因為我們自己也會這樣訴說，讓我們能認識這個世界，至少目前而言是這樣。

Michael Kimmelman
《紐約時報》藝術總評

圖片：攝於中國。深圳