Gyrecraft Film Festival 环流影展 2024Call For Submission 公开征集
Subject 主题Time 时间 ｜ Location 地点
Introduction 介绍
GYRECRAFT Official Selection 2024:
The Place of Revelation and Disappearance
环流精选：
显隐之地
Saturday, February 10, 2024, 15:00
Screen 2, Genesis Cinema, London, UK
Total Runtime: 115 minutes
2024年2月10日 15:00
电影院2，Genesis电影院，伦敦，英国
总时长：115分钟
The “development” of various media states overflows from the surface of material under the influence of southern light and shadow, and is projected into the imagination of time and space, becoming an image of shadow. The Southern terroir and light and shadow area are where people gather to enjoy cool weather and to stay temporarily. It is also where witty words are excahnged and the intersection area for many dieties and strange objects from the terroir/mythological world. The Gyrecraft Film Festival selects six films from 300 submissions that are characteristic of the Southeastern coastal region in China and the cultural customs of the South. Using films as a medium, we strive to build a film connection that spans the time difference between the two harbor cities of London and Xiamen.
不同媒介状态的“显影”，在南方光影的作用下从物质材料的表面溢出，投射到时空的想象中，成为关于影的影像；南方的风土与光影地带，那里既是人们相聚乘凉、暂且停留、妙语连珠之地，也是风土/神话世界中诸多影神异物的交汇地带。环流影像周从300部影片中，精选出6部极具东南沿海地域和南方文化风土的影片，以电影为媒，在伦敦与厦门两座海港城市之间，建立一条跨越时差的影像连线。
A Family Letter
消失的侨批
Jiazi Chen, Muyuan Gao,Wenwen Wei,
CHN, 11min, Hokkien, English/Chinese subtitles, 2022
*World Premiere
陈嘉梓 ，中国，11分钟, 潮汕方言、闽南语系，
中英字幕，2022年
*世界首映
As one of the earliest commercial ports along the coast of China, Shantou Small Park has witnessed the history of Shantou as a “century old commercial port”. The narrative of the great era of Nanyang under the opening of ports involved the small park in the development history of foreign trade in the entire Pearl River Delta. The study of “The Lost Overseas Chinese” takes the spatial field of the small park as the research object, tracing the rise and fall of the park’s 200 year history, and using “Overseas Chinese” and “Going to Nanyang” as narrative clues, it incorporates content from different scales such as era narrative, family and country narrative, and individual narrative, forming a narrative expression with a structure of “Overseas Chinese” (family and memory), “local chronicles” (space and narrative), and “oral” (individual and memory). Through the experience of a family of opera singers, the history of a great era swept forward with countless small figures has been vividly portrayed. If “going to Nanyang” is a form of adventure and progress, while ‘overseas criticism’ is to break through the tenderness under this resilience. Tiezhi Puppet and Life Experience, Historical Research and Literary Fiction, Film Production and Virtual Production, and the three layers of virtual and real relationships in the works are intertwined in the narrative.
汕头小公园作为中国沿海最早一批通商口岸，见证了汕头“百载商埠”的历史。开埠下南洋的大时代叙事将小公园卷入了整个珠三角对外贸易的发展史之中。《消失的侨批》以小公园的空间场域作为研究对象，回溯小公园 200 年历史的兴衰变化，以“侨批”和“下南洋”作为叙事线索，收纳时代叙事、家国叙事、个体叙事等不同尺度的内容，形成以“侨批”（家族与记忆）-“方志”（空间与叙事）-“口述”（个体与回忆）为结构的叙事表达。通过一个唱戏人家族的经验，钩沉出了一个大时代卷着无数小人物向前涌进的历史。如果“下南洋”是一种冒险和进取，而“侨批”则是划开这份坚韧之下的柔情。铁枝偶戏与人生经验、历史考证与文学虚构、电影实拍与虚拟制作，作品中的三层虚实关系在叙事中纠缠在一起。
The Yukou Paper II
玉扣纸II
Gui Shuzhong, CHN, 30min, Hakka dialect of western Fujian, English/Chinese subtitles, 2022
鬼叔中，中国，30分钟，闽西客家方方言，
中英字幕，2022年
*世界首映“Yukou Paper” is a kind of traditional handmade paper in Ninghua, which is located in northwest of Fujian province. “Yu” literally means jade, because “Yukou Paper” is so pure, white and smooth, just like jade. Currently, there are two interpretations for “Kou”，the first one is the best part of bamboo after being stripped. The second one is a unit for measurement from the past, which is equivalent to “Dao” nowadays. In the old days, the Yukou paper was used to write documents to the emperor, account books, contract document, to print books, genealogies, scriptures, archives and historical books. During the 1970s, the State Publishing Bureau specially transferred this type of paper to print thread-bound large character edition book such as “Poems of Chairman Mao”. During the 1980s and 1990s，the Yukou paper was a fist product for foreign trade in Ninghua County. After 2000, the traditional handmade paper industry declined. In 2009, I found the one remaining handmade paper workshop in a small village in Zhiping She Township, Ninghua County, and with this, I made my documentary debut “The Yukou Paper I”. I thought it was an elegy for her. From perseverance to revival, I have continuously followed the Yukou Paper over these years. This film is also a complement to the video text of the Yukou paper.
玉扣纸为闽西北宁化一带的传统手工造纸。玉扣纸，因成纸温润如“玉”，“扣”，目前有两种解释，一为剥料之后的上好材质（竹纸纸品的一种类型），二为计量单位，等于现行的“刀”。玉扣纸旧时为书写奏本、账簿、契约文书，印制书籍、族谱、经本、档案史籍之上品。二十世纪70年代，国家出版局专门调运此纸，印制《毛主席诗词》等线装大字本。二十世纪80、90年代，玉扣纸是宁化县对外贸易的传统拳头产品。2000年后传统手工纸业式微。2009年，我在宁化县治平畲族乡的小山村找到仅存的一家土纸寮，并以此拍摄了纪录片处女作《玉扣纸I》。原以为这是为她唱的一曲挽歌。之后这些年我持续跟踪了苟延残喘的玉扣纸，从坚守到再兴。本片也是对玉扣纸影像文本的一个补充。
Rest In Peace
入土为安
Django Tsai,CHN,28min,Hokkien,
English/Chinese subtitles, 2023
*UK Premiere
蔡坤宇，中国，28分钟，闽南语，
中英字幕，2023年
*英国首映Twenty years ago in a rural Minnan village, A hand crasman named Dummy earns a living by making paper cras for funerals. Upon learning about his impending death, Dummy hopes to have a tradional burial,which, to him, represents a dignified farewell. However, his desire goes unfulfilled due to the local funeral reforms aimed at modernizing the customs. Consequently, Roach, Dummy's loyal friend who knows how to navigate the system, sets out to help him to find a way to escape from the seemingly inevitable cremaon aer death. Lile do they know, their journey to fulfill dummy’s last wish leads them into even greater trouble…
二十年前的闽南农村，老实的纸扎手艺人菜瓜得知自己不久于世的消息后，希望能按照传統的风俗土葬。但由于当地推行移风易俗的殡莽改革，菜瓜的心愿落空了。于是，“通门路”的好兄弟蟑螂开始帮助菜瓜寻找替屍火葬。
没想到，两人在寻屍的路上陷入了更大的麻烦……
Compound Eyes of Tropical
热带复眼
Xuzhan Zhang, TWN, 17min 5 sec, no language,
no subtitle, 2022
*UK Premiere
张徐展，中国台湾，17分钟05秒, 无对白，
无字幕，2022年
*英国首映“Compound Eyes of Tropical” Through the vision of the fly's compound eye, the folktale becomes a container, filled with symbolic metaphors like the mirror and shadows, reflecting the flow of cultural identity, ethnicity and the transitional nature of local and global contexts. The film's stop-motion animation puppets are made using Taiwan's unique papermaking technique rooted in traditional funeral ceremonies. At the beginning of the film, a shadow puppet mirror transforms into a shaman-like animal dancer. The film uses the perspective of a fly to create a montage film language using the metaphor of the compound eye. Through the use of choreography in the style of the Taiwanese ‘Yi Zhen' folk dance, the film portrays the Southeast Asian folktale ‘The Mouse Deer Crossing the River’ through multiple perspectives, reinterpreting the story’s multiple facets across cultures.
《热带复眼》以台湾特有的”死亡丧葬祭典的纸扎技法”进行制偶，并拍摄而成逐格动画， 片中开场的皮影镜面，幻化成一尊如萨满般的动物舞者，透过艺阵舞蹈重新演绎东南亚民间故事”鼠鹿过河”; 影像创造一种复眼式蒙太奇的电影语言，让观众透过苍蝇的复眼视角， 穿梭在跨国的母题故事里，并以镜子做象征容器，反射文化认同、身份、种族、在地性与世界性的流动变化，诠释其世界民间故事表面看似相异，结构内里却相似的文化本质。
The Shape of Shadow
影之道
Ruilan Shen, CHN, 29 min, Chinese dialogue,
English/Chinese subtitles, 2023
*World Premiere
沈蕊兰，中国，29分钟, 中文对白，
中英字幕，2023年
*世界首映At the invitation of the Power Station of Art and the Chanel Culture Fund, young director and visual artist Shen Ruielan, along with her team, followed curator Chen Donghua to delve into the shadows formed by architectural structures under the scorching sun, exploring the vibrant southern shadows, to film the documentary "The Shape of Shadow." The camera moves from art museums and nursing homes in the city center to cultural squares in markets and villages, capturing the interplay between light and shadow, nature and artificiality, fireworks and reality, daily life and the public sphere, the local and the contemporary. Through visual language and bodily sensations, the documentary aims to reveal the complexity of revitalizing architecture, showcasing the impermanence and passion within the southern “shadow” life.
在上海当代艺术博物馆与香奈儿文化基金的邀请下，青年导演、影像艺术家沈蕊兰及其团队跟随策展人陈东华，从暴热阳光下建筑所形成的阴凉之隙，深入南方活力涌动的阴影之地，拍摄展览的同名纪录片《影之道》。从城市中心的美术馆和养老中心，到市集和村落里的文化广场，镜头穿梭于晴与雨，明与暗，自然与人工，烟火与现实，日常与公共，本土与当代之间，以影像语言和身体感受回归活性建筑的复杂性，以此呈现南方“阴影”生活中的某种无常与热情。