头条

“微芒成阳-亚太地区高校摄影邀请展”（第17期）

The Department of Photography of Nanjing University of the Arts was established in 2001, which can be traced back to alumni Wu Yinwei and Sha Fei. At present, a master's degree system has been established. Relying on the advantages of the school's five first level disciplines, taking "media+science and technology+humanities" as the overall concept, highlighting the forward-looking, joint, local, experimental and heritage teaching characteristics, and facing the trend of media integration on the basis of classical crafts and digital images. The goal is to cultivate compound talents for image creation and research in the context of new media.

贾方 Jia Fang

南京艺术学院传媒学院摄影系 系主任 副教授

研究方向:图片摄影与实验影像；作品曾获：阿根廷布宜诺斯艾利斯国际电影节半决赛最佳实验短片奖；英国伦敦超级短片电影节最佳实验短片入围奖；葡萄牙天堂电影节最佳实验短片入围；英国NFT数字艺术电影节最佳实验短片荣誉奖；瑞典布登国际电影节最佳实验短片入围；温哥华国际青年电影节优秀电影制作奖；第33届新奥尔良国际电影节入围。

作品获2022瑞典 Boden International Film 国际电影节最佳实验短片入围；2022葡萄牙 Paradise Film Festi 国际电影节最佳实验短片单元入围

项目类别：实验片

时长：15分钟

导演：贾方

摄影：贾方 姚礼尧

航拍：贾方 姚礼尧

录音：姚礼尧 宋星月 夏雨泽

剪辑：贾方 姚礼尧 尤斌阳

字幕翻译：卓树奇

调色：刘先瑞

2017年，中国政府提出“全面复兴中华传统文化”，各级地方政府选定了一批民间戏曲传承人，投入大量资金支持，期望他们能复兴中华传统戏曲的往日荣光。影片辗转5省86个村庄，以目连戏为主要线索展开采访调查。据考证：目连戏是中国戏曲第一个剧目，被誉为中国戏曲“戏祖”。

地处安徽省大山里的马山村，有一个目连戏民间剧团，他们是中国传统目连戏的卫道者。在民间日渐没落的戏曲环境和剧团成员个人生存问题的双重压力下，团员不断流失，这个曾经拥有40几位成员的民间戏曲社团减少至11人，甚至已无法满足一折戏的演员要求。复兴之路困难重重，生存与理想的矛盾让每一个参与者们彷徨，民间艺人们将希望和未来寄托于政府，而面对演员和观众不断流失的现实问题，地方政府和文化研究者们也颇感棘手。民间传统戏曲复兴之路迷雾重重，古戏传承者们的理想和坚守像是一场独自忧伤的梦。

影片分为五个部分：1、秘境；2、寻觅；3、日常和时光；4、迷踪（迷失道路）；5、何以解幽梦（怎样化解忧伤之梦）。

《Understanding Dream》/《Ancient Opera Dream》

Project Category: Experimental Tablets

Duration: 15 minutes

Director: Jia Fang

Photography: Jia Fang, Yao Liyao

Aerial photography: Jia Fang, Yao Liyao

Recording: Yao Liyao Song Xingyue Xia Yuze 

Editing: Jia Fang, Yao Liyao, You Binyang

Subtitle translation: Zhuo Shuqi

Grading: Liu Xianrui

In 2017, the Chinese government proposed to "comprehensively revive traditional Chinese culture", and local governments at all levels selected a group of folk opera inheritors and invested a lot of financial support, hoping that they could revive the past glory of traditional Chinese opera. The film travels to 86 villages in 5 provinces, and conducts interviews and investigations with Mu Lian Drama as the main clue. According to research: Mulian opera is the first repertoire of Chinese opera and is known as the "opera ancestor" of Chinese opera.

Located in Mashan Village, Dashan in Anhui Province, there is a Mulian Opera Folk Theater Troupe, which is the defender of traditional Chinese Mulian Opera. Under the dual pressure of the declining opera environment and the personal survival problems of the members of the troupe, the members of the troupe have been continuously lost, and the folk opera society that once had more than 40 members has been reduced to 11 people, and even can no longer meet the requirements of the actors who have folded the play. The road to rejuvenation is fraught with difficulties, the contradiction between survival and ideals makes every participant wander, folk artists pin their hopes and future on the government, and in the face of the reality of the continuous loss of actors and audiences, local governments and cultural researchers are also quite troubled. The road to the revival of folk traditional opera is full of fog, and the ideals and persistence of the inheritors of ancient opera are like a lonely and sad dream.

The film is divided into five parts: 1. The Secret Realm; 2. Seeking; 3. Daily and time; 4. Lost (lost road); 5. How to solve ghost dreams (how to resolve sad dreams).

图为《何以解幽梦》实验影片海报

韩舒怡 Han Shuyi

《消散在时光里》

作品《消散在时光里》是关于我和爷爷的情感联结，拍摄的过程于我而言更像是一场治愈的旅程。我无法忘掉记忆里的那天，看着爷爷的目光慢慢的离开灯光，离开窗外，离开我……当我开始意识到我与爷爷正在经历告别时，就试图拿起相机记录下这些情绪，对我而言摄影是记录情感和表达想法最好的一种方式。用图片记录下这些或炙热或悲恸或挣扎情感变化的过程，使我开始思考生命、死亡与血缘之间的关系，通过个人情感与个体之间的关系反思死亡赋予生命的意义。整个组图的叙事结构也是按照个人主观情绪变化编排的，从最初强烈的悲伤和无所适从直至后来爷爷离世之后我才渐渐接受死亡，接受这些情感遗留在我身上的痕迹。在创作过程中我能感受到时间渐渐稀释了这份悲伤的浓度，强烈以变弱，鲜明以透暗。

关于拍摄的一段长达三分钟的长镜头实验短片。从开始制作这些小白船，带着纸船放到江面。影像画面记录了随着时间流逝，有的船在燃烧，有的船被淹没，有的船渐行渐远。最终都消失在江水里。长江孕育了世世代代的生命，也是我与爷爷共同生存的空间环境。将纸船放逐在江面直至消逝是我对爷爷无声的悼念方式。当人类经历死亡，无论是回归尘土还是海洋，我们都会被分解成为无序的微粒，散落在世界的各个角落。从有序到无序的过程，也就是生命死亡的过程。

"Dissipating in Time" is about my emotional connection with my grandfather, and the filming process is more like a healing journey for me. I can't forget the day I remember, watching my grandfather's eyes slowly leave the light, leave the window, leave me... When I started to realize that I was going through a goodbye with my grandfather, I tried to pick up the camera and record these emotions, and for me photography is the best way to record emotions and express ideas. Recording these emotional changes in heat or sorrow or struggle with pictures made me start to think about the relationship between life, death and blood, and reflect on the meaning that death gives to life through the relationship between personal emotions and individuals. The narrative structure of the whole group is also arranged according to the changes in personal subjective emotions, from the initial strong sadness and confusion until the death of my grandfather and I gradually accepted death and accepted the traces of these emotions left on me. In the process of creation, I can feel that time has gradually diluted the concentration of this sadness, strong to weaken, vivid to dark.

About a three-minute long shot experimental short film. From the beginning of the production of these small white boats, with paper boats on the river. The images record that over time, some boats are burning, some are submerged, and some ships are drifting away. Eventually they all disappeared into the river. The Yangtze River has given birth to generations of life, and it is also the spatial environment in which my grandfather and I live together. Banishing the paper boat to the river until it disappears is my silent way of mourning my grandfather. When humans experience death, whether it is back to dust or the ocean, we are broken down into disordered particles scattered throughout the world. The process from order to disorder, that is, the process of death of life.

图为《消散在时光里》作品实验影片部分截图

2022年毕业于南京艺术学院摄影系，作品获2022索尼世界摄影大赛专业学生组世界十强；中国平遥国际摄影大展中国青年摄影师计划“鲲鹏奖”。

《海洋观察入门》

《Get Started with Ocean Observation》

Archives: In this group of works, I try to link the secret and vague links between the ocean, plastic and human beings through the combination of photography and text. The plastic on the left is like a mountain or a lake, and some of them are like a tiny dust in the Milky Way. The words on the right, including historical records, news, and compiled words, like the photos on the left, let people fall into an infinite reverie about the relationship between the sea and human beings. It is hoped that this seemingly unconventional graphic method and incomplete narrative method can give the audience more inspiration.

《是彩虹，还是聚氯乙烯，这是个问题》：作品里的这些塑料制品源自于人类的消费社会，消费就和呼吸、吃饭一样，须臾离不开，甚至是人生存最基础的一部分。人类深陷于塑料制品构建起的彩虹般的消费社会梦境中，却忽视了其带来的污染问题最终会反噬自身。“塑料海洋”早已不是传说，如何处理海洋垃圾，如何在环保和消费之间保持某种平衡，是我们每个人都该深思和重视的问题。

"Is it a rainbow, or polyvinyl chloride, this is a question": these plastic products in the work originate from the human consumer society, consumption is the same as breathing, eating, must be inseparable, and even the most basic part of human survival. Human beings are trapped in the rainbow-like consumer social dream of plastic products, but they ignore that the pollution problems they bring will eventually eat themselves up. "Plastic ocean" is no longer a legend, how to deal with marine litter, how to maintain a certain balance between environmental protection and consumption, is a problem that each of us should ponder and pay attention to.

无题1:人们在自然中建立起一座座城市，以一种征服的姿态入侵自然。而自然也会以同样的姿态包裹住人类。这组作品使用了液体塑料作为载体，对互联网图像中的人类活动进行了覆盖。

Untitled 1: People build cities in nature and invade nature in a conquering manner. Nature will envelop human beings in the same way. This group of works uses liquid plastic as a carrier to cover human activities in Internet images.

无题2:对在各个漏油事件中被原油包裹住的海洋生物的模仿。

张舒淇 Zhang Shuqi

《一缕风掀起了枕底沉睡的梦》

作品获2022年1839摄影奖提名奖

The world of the elderly is always full of stories, "love, beauty, youth, ideals, loneliness, death" is the life story experienced by grandmothers.

She told me her story and I listened carefully. Memory is an emotion, and reluctance, memory, longing, and regret all stem from this, and so does Grandma. I worked with her to photograph those fond or painful memories, and she said that her biggest regret was that she was not literate, and for which he complained about his father's preference. She said that her fondest memories were her days with her grandfather, and the biggest pain was the death of her brother and grandfather. She said that life is like the sun of the day, there are always sunset moments, and it is a good thing to die after experiencing all kinds of things...

《小凯》

作品获第十届温哥华华语电影节入围提名

小凯是一个被“一致认为”不幸、可怜的孩子，人们将他的痛苦无限放大，再给他戴上语言的枷锁，而后通过这些枷锁不停的模糊现实。拍摄者通过展示小凯的另一面，从而将那些定义在小凯身上的“形容词”模糊化，从而展现立体、生动的小凯。同时也想表达，在我们的生活里被戴上“语言枷锁”的不仅是小凯，同时生动立体的也不仅是小凯。

图为《小凯》影片海报