08第六屆社會運動電影節--巴黎公社 (1871)
)影像．感動．思索．行動 就在你與我身邊
http://smrc8a.org/smff/
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巴黎公社 (1871)
彼德．獲健士作品
製作：13 Production, La Sept Art, Musée d'orsay
1999/法國/黑白/345分鐘
中文字幕
La Commune (de Paris, 1871 )
A Film by Peter Watkins
Production:13 Production, La Sept Art, Musée d'orsay
1999 /France/ B&W/345 minutes
http://www.mnsi.net/~pwatkins/commune.htm#avail
「看! 昨日最後一埸就在這裡拍。」 兩位演員帶著鏡頭(我們)參觀拍巴黎公社的攝影棚。不要以為你看的是製作紀錄，因為攝影機很快便變成公社電視台的記者/攝影師，穿來插去，找人做訪問。對，我是說電視台，你還會在片中看到1871年的電視新聞! 不要誤會這是?劇，彼得．獲建士(Peter Watkins) 比誰都認真和關心社會，也一直致力創新影視 「藝術」。今古交錯是他的疏離手法之一，演員時而扮演公社中的角色，時而做回自己，暢談當下的心情和對角色的看法 ; 這邊廂，一群婦女在公社開會，話題慢慢轉向1999年的法國女性；那邊廂公社的男人談電視，談現代的媒體，談日本的衰落 ; 不同時空的話題，互相對照，迫切而貼身。
作為電影社會行動工作者，在 「藝術」 層面屈建士挑戰傳統電影導演權力至上和要觀眾成為被動的消費者那種不民主做法，巴黎公社不錯是由屈建士精心設計和統軍，但要求成員大力參與，骨幹是導演的內容則是大家的，例如片中的重要構成部份－對話和討論---來自演員深入研究角色後結合現實生活中的身份，經驗和想法通過排演獲得，是有控制下的比較民主的集體創作；在社會行動方面他要用巴黎公社那種熱火沖天，為了打做一個更好的世界而不怕犧牲的精神來衝擊時下缺乏承擔沒有改良社會理想的人並且重新檢討今天仍然未能做到的很多當時的改革。所以他一方面疏離觀眾，另一方面又要演員和觀眾參與，留了很多空間和資料讓我們討論 (他雖然沒有言明，但片中所留的很多空位令人聯想1968年阿根廷激進紀錄片《熔爐時刻》 [Hour of the Furnaces]中打字幕暫停，叫觀眾展開討論的做法)，電影中和電影外的討論都是運動的一部分。片中扮演婦女同盟的人後來就組織起來把片中的議題帶到現實生活裡繼續爭取，社會行動巳走出銀幕進入生活。
巴黎公社是獲建士的巔峰作也是電影社會行動片的典範。其作品政治社會意識之強在英國只有堅．盧治(Ken Loach)差可比擬，實驗性則比彼得．格林威(Peter Greenaway)還多幾分實在。這樣豐富的一部作品遠非幾百字可以言明，如何放映和用這部片已大有學問，還是留待觀眾自己去體會。
‘Look! Yesterday, the last scene was filmed here.’ Two actors take the camera (us) for a tour of the shooting studio of Paris Commune. Do not think you are watching the making-of of the film, as the camera soon becomes the journalist/cameraman of the Commune TV station, going everywhere to interview people. Yes, I mean the TV station, you will even see the TV news of 1871 in the film too! Do not think it is a farce. Peter Watkins is more serious than anyone and nobody can compare to his concern for the society. He is also devoted to reinvent the film and video ‘art’. Anachronism is one of his alienating skills. Actors sometimes play the roles and sometimes play themselves and talk about their feelings at the moment and how they think of the characters. When a group of women are having a meeting in the commune, the topic slowly shifts to the French women in 1999. The men in the commune talk about TV, the modern media and the decline of Japan . Topics of different times juxtapose. Pressing and down to earth.
As a film and social activist, Watkins challenged both the art and the social. For art, Watkins challenged the tun democratic practice of having an insurmountable autocratic director and requiring the audience to become passive consumers. Although Paris Commune is delicately designed and led by Watkins, he demands active participation from the actors. The structure was his but yet the the contents were everybody'. For example, the important components of the film –dialogue and discussion – was developed by the actors' in-depth research of the characters, merging the characters with their true self in real life and experiencing and develop their thoughts through rehearsals. Which is a rather democratic collective creation in a controlled manner. For the social, he makes use of the passionate spirit of the Paris Commune – ready to sacrifice for building a better world, to challenge the people without the commitment and the will to improve the society nowadays. He also evaluates many reforms of the Paris Commune which are still not accomplished today. Therefore, he alienates the audience on one hand and requires the participation of actors and audience on the other hand. He leaves a lot of space and data for discussion (He did not actually mention it, but a lot of space implied in the movie is reminiscent of the Argentinean radical documentary, Hours of the Furnaces. In which, the film paused and asked the audience to start a discussion.) The discussion inside and outside the film are parts of the movement. After finishing the Paris Commune, the women playing the Women’s Union in the film organized to carry the issue raised in the film into their real life and continued to fight for it. Social movement steps out the screen and enters life. Paris Commune is the best work of Watkins and an prime example of film activist movies. In Britain, comparable example could only be found in Ken Loach of such strong social and political consiousness in his works. The experimental sense of his works is even more concrete than Peter Greenaway. A work of such richness certainly cannot be described in a few hundred words. How to show and use the film requires great wisdom,already. It’s better to leave it for the audience to feel it themselves.
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Inside a giant warehouse in a working-class Parisian suburb, Peter Watkins assembles a cast of over 200 non-professional actors (though their amateur status is undetectable). Basing their work upon thorough historical research, they will attempt tore- create the events of March, 1871-the rise and fall of the Paris Commune.
La Commune (Paris, 1871) explores that famous, brief, romantic, and tragic period when poor and working-class Parisians rose up against the “bourgeois” French national government, which fled the capital and re-established itself in Versailles. As this complex historical drama unfolds, it is also “ covered” by two television news crews – one from “National TV Versailles” which broadcasts the official version of events, the other from “Commune TV,” giving voice to the rebellious Communards.
Mixing past and present, revolutionary in form as well as content, Watkins’s audacious masterpiece forces us to confront notions of a safe or objective reading of the past, and also to reflect, inevitably, upon the present. No one who meets the challenge of La Commune (Paris, 1871) will be unchanged by the experience.
主辦單位：自治八樓(學聯社會運動資源中心) 及 影行者
Presented by ：autonomous8a (social movement resource centre) and v-artivist