当代学术开放讲堂系列十一：“个体经验的历史维度”
——戴锦华、陈永国关于“电影书写”的对话
2015年3月8日下午14：:30，由中央美术学院学术委员会、美术馆、人文学院主办，中央美术学院青年教师协会协办，刘小东、王璜生、尹吉男任总策划，宋晓霞任学术主持的“当代学术开放讲堂”在中央美术学院美术馆学术报告厅举办了本学期的首场讲座。就在前不久的文化部全国美术馆2013-2014年度优秀项目评选中，“当代学术开放讲堂”被评为优秀公共教育项目。
这一讲的主题为“电影书写”。北京大学戴锦华教授与清华大学陈永国教授就中国（华语电影），以内在的政治经济学视点，从西方批评理论到中国个体的生命体验进行了深入的讨论，并与我院师生现场进行了互动交流。
学术主持宋晓霞教授开题即提出“我们如何介入、参与电影书写”的问题。她说，在今天越来越多艺术家以影像为媒介进行创作之际，关于电影，已经不是被我们 “隔岸观火”地在艺术门类下旁观的一个学科，而是与我们美术创作息息相关的艺术活动。戴锦华教授的电影书写，首先不是回答电影研究的问题，而是去描述、勾勒她所面对的激变中的社会，以及她自己在激变中的生命经验中，如何呈现和批判她自己的，同时也是时代的情感结构。在社会关注和个人体验上，戴老师与我们艺术家是相通的。那么今天，我们应该从什么视角来参与这场关于电影的讨论？
这场关于“电影书写”的对话主要分为四个小节。首先，陈永国就戴锦华的新书提出了一个颇具电影现场感的哲学问题：假设波德莱尔有一天想和本雅明进行一次私密谈话，却遭到了七个小老头和小老太太的偷听，他们还带着录音机、摄像机等电子设备。那么谈话该如何进行？如果波德莱尔和本雅明来到北京的高校，他们会乞讨吗？假如在私密的谈话中还有中国三个著名的电影导演，该如何处理这样一个谈话场景？
戴锦华将这个哲学问题以“形而下滑”的方式定义为他者对于自我的意义以及主体的构成问题。现代人自认的主体意志永远是参照在他人的自我想象和他者的在场之间完成的。这场私密的谈话由于观众的在场被解构和改变，再加上一系列的媒介工具，私密性彻底消失了。陈永国所说的这种场景放在今天可以引出知识分子的位置问题，类似于知识分子的言说——即使以独白、自我娱乐的形式进行，每种书写也无法避免观看者和记录者的存在，它具有某种天然的公众性。至于三位有名的中国电影导演，他们肯定对乞讨的本雅明和波德莱尔视而不见，这就是当今社会的悲哀，也是电影的悲哀。
对话的第二个部分围绕上世纪80至90年代在欧洲国际电影节上获奖的中国电影，谈论了西方的东方主义和电影中颠覆性的政治策略。以张艺谋的作品《红高粱》为例，陈永国问戴锦华为什么张的此类电影会在西方引起如此大的影响，而国内又有多少观众能理解电影中对意识形态的挖掘。戴锦华认为张艺谋的走红并非偶然，他非常有意识地以国际电影节为目标去结构他的电影，这又正好符合了整个欧洲对非西方国家电影的一种期待。但张的电影弄混了主体和客体，他用西方主体式的视角看待中国，是一种自我东方化。
接着，二位主讲人针对当今中国电影发表了各自看法。陈永国将思想和民族性上的缺失以及自我与他者的混淆视作现在中国电影一边票房高涨，另一边则恶评如潮的现象的本质原因。戴锦华补充说这是被裹挟进现代化进程的非西方国家的普遍问题。电影属于工业体制和商业体制，这使其个人化的实践可能性很小。这不是中国电影缺失的有效解答。中国电影当不起这样的责任，这是整个文化的问题。
对话的最后一部分集中于历史的创伤及其对整个中国社会、历史的影响。以电影《南京！南京！》为例，陈永国认为其在人性的揭示上远不如西方在处理同类题材上来得深刻。戴锦华指出陈永国的观影体验是我们作为已迷失了的自我和主体的共同情境的隐喻。导演过度刻画了人性，但却只表现了战争之内的景象，战争之外的东西却没有出现。所以，中国人内心的创伤一直不能被有效地治疗，这也导致我们时至今日仍然不能健康地面对中国和日本在政治、经济，更重要的是文化方面的交流。
最后，戴锦华指出，整个二十世纪，我们的创伤是深刻、多端的，但我们通常都是不及悲悼就急速前行。我们需要悲悼，忘掉过去，才能前行。二十世纪对今天最大的一个意义就是它的背叛，这种背叛是反抗性的、对社会宿命的背叛，是一种不认命。今天，之所以社会带给我们焦虑，是因为我们已经失去了背叛的能力，即使是忠诚也是非常疲惫的。陈永国接续道，当下所记录的历史、记忆其实也是一种反历史、反记忆，它的目标就是为了当下，一切历史都是当代史，都是为了更好地活着。碎片化、非线性的历史对我们是有益的，能够帮助我们更好地思考。
Q&A
1、 大众电影文化和关于具有特殊性历史的电影文化是否有共通点？
戴：电影的尴尬之处就在于，虽然它是最伟大的艺术样式之一，但也无法避免它的铜臭和机油味，因为它属于工业体系。造成《南京！南京！》这样的电影的问题不仅在于娱乐化，它并非试图追逐市场或取宠观众。而娱乐性也不会干预到历史呈现。《智取威虎山》这部电影非常好玩，是一个极端特殊的文本，携带着文革记忆，京剧改革、现代性等等历史描述，是一个巨大的历史观的样本。徐克只不过用它的改写给出了一个回声。香港导演改编的红色经典，是一个投名状，以另一种方式告诉我们的历史被飞地化。
2、中国的电影很愿意谈论过去和今天，但为什么不愿意描述未来？
戴：五四以来的传统就是求新，但我们虽然不断畅想未来，但对未来的想象却是建立在乐观之上，而不是畅想、构想本身。中国到现在还没有严格意义上的未来学，在知识生产体系上也没有，只有科幻。六十年代中国有一部科幻电影，叫《小太阳》，但还没出世就被毙了，因为显见的政治禁忌。其实这部电影不比同时期的好莱坞电影差。除此之外，科学是我们最大的神话之一，而科幻的基本特点是反科学，是对科学的反叛。但是这个东西正在被逆转，比如《星际穿越》这部电影中所揭示的种种科幻与科学接轨的可能性。而且目前中国的思路也正在与世界接轨，比如《三体》的成功。
陈：我认为中华民族是一个太重视历史的民族，不断地拯救历史以至于丧失了历史。同时，政府一个接一个的五年计划也从政治上限定了我们对未来的想象力。
3、 我们如何去唾弃像《南京！南京！》这样票房热卖，却历史观有问题的电影？影评到底起了多少积极作用？
戴：整个中国的电影市场和文化生态当中，影评都没能进入一个有机环节，自身处于断裂、缺席的状态。中国的电影市场极端怪诞，越看越骂，越骂越看。而今年全球电影的普遍现象也是不烂不卖。这种遭遇指示了媒体的转型、数码转型。它绝不仅仅是媒介的改变，而是文化生态的改变。文化生产、文化传播的结构转变与数码转型同步发生。影评在这样的背景下如何生存？回到《南京！南京！》，影评的缺席不是最重要的。这部电影受到了各种各样的权威机构的肯定，还纳入了爱国电影的系列。如果以这样的影片进行历史教育的话，这和日本最右翼的教课书有什么区别？
文/周颖南
图/董慧萍、和筱
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(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
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The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
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The fees for images bearing Party A’s likeness will be undertaken by Party B.
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Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
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I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
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Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
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Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
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Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
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Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
