上海電影節 開放市場浪潮中保護本土電影

SHANGHAI — The Shanghai International Film Festival may have played only a minor role in the blockbuster success of “Transformers: Age of Extinction” in China last year. The film, which earned what was then a record $319 million after debuting as the closing film at the festival, was already guaranteed a certain degree of success, given the history of its franchise in China. But its opening here raised the international profile of a festival that has established itself as one of the most prominent events of its kind in the region.

上海——對於《變形金剛4：絕跡重生》(Transformers: Age of Extinction)去年在中國取得的巨大成功，上海國際電影節也許只起到了很小的作用。作爲閉幕影片在上海電影節首映後，《變形金剛4：絕跡重生》收穫了創紀錄的19.7億元人民幣的票房收入。鑑於這一系列電影在中國過去的表現，它本就基本註定會取得成功。不過，上海國際電影節在逐漸成爲亞洲地區最重要的電影盛事之一，而《變形金剛4：絕跡重生》在此首映提升了電影節的國際影響力。

This year, organizers are opting for a lower-profile film to fill the symbolic slot.

今年，主辦方打算用一部較爲低調的影片來承擔這一象徵性的榮譽。

The event, which kicked off on Saturday and runs through Sunday, opens and closes with two homegrown productions: The Chinese film “I Am Somebody,” a self-financed comedy directed by Derek Yee about the lives of the nameless extras working at the famous Hengdian World Studios near Shanghai, will make its world premiere as the opening film of the festival. The event will close with a Chinese-Russian co-production set during World War II called “Ballet in the Flames of War” and directed by Yachun Dong and Nikita Mikhalkov. The selection of the closing film follows an agreement signed last September between Russia and China intended to increase cooperation in the film domain.

上海國際電影節於上週六拉開帷幕，將持續至本週日，開幕和閉幕影片均爲本土出品：華語電影《我是路人甲》將作爲開幕影片完成全球首映，閉幕影片則是中俄合拍片《戰火中的芭蕾》。《我是路人甲》由爾冬升(Derek Yee)執導，是一部自籌資金拍攝的喜劇片，講述籍籍無名的臨時演員在離上海不遠的著名影視城橫店的生活。《戰火中的芭蕾》則以二戰爲背景，由董亞春和尼基塔·米哈爾科夫(Nikita Mikhalkov)共同執導。閉幕影片的選擇源於去年9月中俄兩國簽署的一項意在加強雙方在電影方面的合作的協議。

The pivot back toward domestic productions is the latest in an ongoing struggle in China to strike a balance between opening its market to international players and protecting its relatively young film industry. Combined with Hollywood’s eagerness to get a piece of China’s massive film market, which just topped the United States market for the first time in February in terms of box office receipts, the dynamic between the two is often characterized as competitive and collaborative.

中國一直力求在向國際電影開放本國市場和保護中國相對年輕的電影產業之間取得平衡，而此次電影節向本土電影的迴歸是追求這種平衡的最新舉措。今年2月，中國市場的票房收入第一次超越了美國市場，好萊塢迫切希望能在中國巨大的電影市場中分一杯羹。這些因素加起來，使得中外電影之間通常既是競爭關係，也是合作關係。

Officials like Hu Jinjun — the director of the Shanghai Administration of Culture, Radio, Film and TV, the government agency that organizes the festival — prefer to emphasize the latter. “We believe there is no ‘PK’ relationship between the Chinese film industry and Hollywood, instead a process of mutual understanding and exchange,” said Mr. Hu in a written response to questions, using a gaming term that means to engage in combat. “In China, we admire Hollywood’s maturity and advanced film technologies, while Hollywood understands China's vast film market and rich cultural heritage.”

主辦上海國際電影節的是政府機關上海市文化廣播影視管理局。局長鬍勁軍等官員更喜歡強調雙方的合作。“中國電影和好萊塢之間我認爲並不存在‘PK’的關係，而是一個大家相互瞭解、認識的過程，”胡局長書面答覆採訪提問時表示，其中用到了一個意爲交鋒的遊戲術語。“中國電影瞭解好萊塢的技術、成熟的工業體系，好萊塢瞭解中國龐大的電影市場和文化底蘊。”

Now in its 18th year, the Shanghai festival attracts stars and top industry players from the region and abroad. Jackie Chan, Fan Bingbing and Mike Tyson were among the celebrities walking the red carpet at the opening ceremony.

上海電影節如今走到了第18個年頭，吸引了亞洲內外的明星和業內頂級人士。開幕式上走紅毯的明星包括了成龍、范冰冰和邁克·泰森(Mike Tyson)。

The events this year include 1,200 screenings of more than 300 films at 45 locations around Shanghai, China’s cosmopolitan capital.

今年的電影節將在中國的時尚之都上海的45處地點展映300餘部影片，場次達1200場。

“Over the years the festival has really upped its game and established itself as a leading film festival in Asia,” said David U. Lee, the chief executive of Leeding Media, a producer and distributor of films in Los Angeles and Beijing and has been attending since 2005.

“上海電影節的確在逐年發展，把自己打造成亞洲地區的一個主要電影節，”李鼎傳媒(Leeding Media)首席執行官李威達(David U. Lee)說。他從事電影製作和發行工作，在洛杉磯和北京兩地經營，自2005年起一直前來上海蔘加電影節。

A diverse slate of 14 films has been selected to compete for the Golden Goblet Award, the festival’s highest prize, out of a record 2,096 films from 108 countries submitted for various competitions. In past years, the festival has had difficulty attracting top-quality films. Because it is in the highest category of 15 festivals accredited by the International Federation of Film Producers Association, it cannot have films in its main competition that have been in the main competition of another top-category festival, including the big three events at Venice, Cannes and Berlin.

有14部風格各異的影片入圍今年的參賽片名單，將角逐電影節的最高殊榮金爵獎。此次有來自108個國家的2096部電影提交給主辦方，希望參加不同獎項的角逐，創下了紀錄。過去，上海電影節一直面臨無法吸引到高質量影片的問題。這是因爲上海電影節是國際電影製片人協會(International Federation of Film Producers Association)認可的15個國際A類電影節之一，所以入圍其主競賽單元的影片不能在過去入圍其他頂級電影節的主競賽單元，其中包括威尼斯、戛納和柏林三大電影節。

Industry veterans say the competition appears to be improving. Included among the finalists this year are Hollywood titles like Antoine Fuqua’s 2015 film “Southpaw” starring Jake Gyllenhaal as the fictional boxer Billy Hope, and David Barnz’s 2014 indie drama “Cake,” starring Jennifer Aniston as a grieving woman suffering from chronic pain.

電影行業的資深人士表示，上海電影節的競賽質量看來在提高。今年的最終入圍作品包括了來自好萊塢的多部影片，比如安東尼·福奎阿(Antoine Fuqua)在今年推出的《鐵拳》(Southpaw)和丹尼爾·巴爾茲(Daniel Barnz)於2014年出品的獨立製作《蛋糕》。前者由傑克·吉倫哈爾飾演(Jake Gyllenhaal)虛構拳擊手比利·霍普(Billy Hope)，後者則由詹妮弗·安妮斯頓(Jennifer Aniston)主演一名受慢性疼痛折磨的悲傷女子。

Prominent directors featured in the competition include Mr. Mikhalkov with his 2014 film “Sunstroke” set in Crimea during the Red Terror; the French director Pierre Jolivet with the 2015 French-Belgian thriller “The Night Watchman”; and Kiyoshi Kurosawa, who won the prize for best director at Cannes this year in the Un Certain Regard section (outside the main competition) with his 2015 romantic drama “Journey to the Shore,” which is now in the main competition at the Shanghai festival.

參與角逐的著名導演包括米哈爾科夫、法國導演皮埃爾·祖利維(Pierre Jolivet)和黑澤清(Kiyoshi Kurosawa)。米哈爾科夫2014年執導的《中暑》(Sunstroke)講述了紅色恐怖時期發生在克里米亞的故事。祖利維帶來的是今年推出的法國和比利時合拍的驚悚片《守夜》(The Night Watchman)。憑藉着今年的愛情電影《岸邊之旅》(Journey to the Shore)，黑澤清贏得了今年戛納電影節“一種注目”單元(Un Certain Regard)（主競賽單元之外）的最佳導演獎。該片入圍了本屆上海電影節的主競賽單元。

Other international titles include “Carte Blanche” directed by Jacek Lusinski of Poland; “The Duchess of Warsaw” by Joseph Morder of France; “Jameh Daran” by Hamid Ghotbe of Iran; and the Finnish-Lithuanian film “The Midwife” by Antti Jokinen.

入圍的國際電影還包括波蘭導演亞採克·盧森斯基(Jacek Lusinski)執導的《女友的祕密》(Carte Blanche)；法國導演約瑟夫·莫德(Joseph Morder)的作品《華沙女公爵》(The Duchess of Warsaw)；伊朗導演哈米德·吉奧特(Hamid Ghotbe)的作品《意外的真相》(Jameh Daran)；以及由安提·喬金恩(Antti Jokinen)執導的芬蘭和立陶宛的合拍片《助產士》(The Midwife)。

There are also five Asian films in the main competition. From Korea, the contenders are “Salut d’Amour,” about a middle-age man who receives an unexpected romantic proposal, by Kang Je-kyu, and “The Shameness,” a love story between a policeman and a criminal suspect, by Seung-ook Oh. From China, the competition includes “The Dead End” by Cao Baoping about three brothers who raise a young girl together and “Love in the 1980s” by Huo Jianqi about a village romance. Rounding out the 14 is the Taiwanese-China film “Where the Wind Settles,” directed by the Taiwanese director Wang Tung, about three young Chinese soldiers who escape to Taiwan at the end of the Chinese Civil War.

還有五部亞洲影片進入了主競賽單元。兩部來自韓國，其中姜帝圭(Kang Je-kyu)執導的《長壽商會》(Salut d’Amour)講述的是一名中年男子受到意想不到的感情追求的故事，吳勝旭(Seung-ook Oh)導演的《無賴漢》(Shameness)則描繪了警察與犯罪嫌疑人之間的愛情。入圍的中國大陸電影包括曹保平的《烈日灼心》和霍建起的《1980年代的愛情》。前者講述了三個兄弟共同撫養一個女孩的故事，後者則以鄉村愛情爲主題。還有一部是臺灣導演王童的作品《對風說愛你》，其中講述了在中國內戰末期逃至臺灣的三名年輕士兵的經歷。

Andrey Zvyagintsev, the Russian director who with Oleg Negin won the award for best screenplay in Cannes last year for the 2014 film “Leviathan,” will head the jury for the Golden Goblet Award. Other members include the Chinese director Cai Shangjun, the Chinese actress Hao Lei, the Hong Kong filmmaker Shi Nansun, the Korean screenwriter Kim Hee-jae, the French director Philippe Muyl and Ron Yerxa, the American producer of films like “Little Miss Sunshine.”

去年與奧列格·涅金(Oleg Negin)一起憑藉《利維坦》(Leviathan)獲得戛納電影節最佳編劇獎的俄羅斯導演安德烈·薩金塞夫(Andrey Zvyagintsev)將擔任金爵獎評委會主席。評委會成員還包括中國導演蔡尚君、中國演員郝蕾、香港製片人施南生、韓國編劇金希才(Kim Hee-jae)、法國導演費利普·彌勒(Philippe Muyl)，以及出品了《陽光小美女》(Little Miss Sunshine)等片的美國製片人羅恩·耶克薩(Ron Yerxa)。

Outside of the main competition, cinephiles will have the rare opportunity to see films that weren’t given a domestic release or aren’t typically shown on the big screen in China. The festival will feature a Jean-Luc Godard retrospective as well as a first-ever screening in China of the six-film “Star Wars” saga. Some Hollywood films that weren’t included in this year’s import quota of 34 foreign films also will receive screenings, like “Boyhood,” “The Theory of Everything” and “Clouds of Sils Maria.”

除了主競賽單元，影迷們將獲得難得的機會，一睹沒有在國內公映或通常不會登上中國大屏幕的一些影片。本屆電影節將舉辦讓-呂克·戈達爾(Jean-Luc Godard)的回顧展，並在中國首次展映《星球大戰》(Star Wars)系列的全部六部影片。中國今年引進外國影片的定額爲34部，而一些沒能引進的好萊塢片也將在本次電影節上獲得放映，比如《少年時代》(Boyhood)、《萬物理論》(The Theory of Everything)和《錫爾斯瑪利亞》(Clouds of Sils Maria)。

Also this year, China and other countries are marking the 70th anniversary of the end of World War II, or as the festival calls it, the “victory in the Chinese People’s War of Resistance Against Japanese Aggression and the victory in the World Anti-Fascist War.”

中國等國家今年還會紀念二戰結束70週年，或者用電影節的官方說辭，是紀念“中國人民抗日戰爭暨世界反法西斯戰爭勝利”70週年。

The festival will screen 11 films to commemorate the anniversary, including the 1957 classic about the construction of the Burma Railway, “The Bridge on the River Kwai,” and the 1979 Academy Award-winning German Film “The Tin Drum.”

在這一主題下，電影節將放映11部影片，其中包括1957年上映的講述修建泰緬鐵路故事的經典電影《桂河大橋》(The Bridge on the River Kwai)，以及1979年的奧斯卡獲獎影片——德國電影《鐵皮鼓》(The Tin Drum)。

China’s largest Internet companies, like Baidu, Alibaba and Tencent, have been making major inroads into the entertainment industry, and the festival’s forum series this year will discuss the impact of this trend.

百度、阿里巴巴和騰訊等中國網絡業巨頭均在大舉進軍娛樂業，而今年電影節的系列論壇將會討論這一趨勢的影響。

Several of the talks will also explore how Internet literature is becoming a source of inspiration for films, as well as the proliferation of Internet films, or films created specifically for the online market.

其中一些討論還將探討網絡文學如何成爲電影靈感源泉的話題，以及網絡電影或爲網絡市場特別創作的影片大幅增加的現象。

“As the online and movie realms become increasingly integrated, we want to create an Internet-oriented film festival,” Mr. Hu Jinjun said.

胡勁軍表示，“在互聯網和電影深度融合的大背景下，我們就要打造具有互聯網思維的電影節。”

The festival has already begun moving in that direction. In March, it announced a three-year strategic partnership with the e-commerce behemoth Alibaba. The festival will integrate services like Yulebao, Alibaba’s crowdfunding-like service, and Taobao Dianying, which will serve as its official ticketing platform. Other corporate partners include the Internet giants Tencent and Youku.

上海國際電影節已經開始朝這個方向發展。今年3月，主辦方宣佈與電商巨頭阿里巴巴簽訂三年協議，達成戰略伙伴關係。電影節將融合娛樂寶——阿里巴巴的衆籌服務——和淘寶電影等服務，而且後者將成爲電影節的官方售票平臺。其他合作公司還包括網絡巨頭騰訊和優酷。

One issue that continues to inspire debate at the festival and beyond is the foreign import film quota, one of the strongest policies that China has in place to shield the film industry. The quota, which allows 34 films to be imported on a revenue-sharing basis, is expected to be raised in 2017 or 2018, possibly to 44 films, according to The Hollywood Reporter.

在電影節內外持續引發熱議的一個話題是進口影片的配額。這是中國採取的保護電影產業的最強有力的政策之一。在票房收入分成的前提下，中國目前允許引進34部外國影片。《好萊塢報道》(The Hollywood Reporter)透露，中國可能會在2017年或2018年將這一配額增至44部。

While Hollywood has long pushed for the complete opening of the Chinese film market, China’s protectionist mentality is understandable, said Mr. Lee, the American-based producer, who has consulted on many United States-China co-production arrangements.

在美國工作的製片人李威達表示，雖然好萊塢一直以來在敦促中國完全開放電影市場，但中國的這種保護主義心態是可以理解的。他擔任過很多中美合拍片的顧問。

“You want an industry to have the chance to find its own voice before you open the floodgates,” he said.

“你會想讓這個產業在打開閘門前，有機會找到自己的聲音，”李威達。