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何不變回一個孩子Think Young, Think Adventurous – Why Not?

文︰黃勺嫚,影像無國界導師 | Text: Wong Cheuk-man, Teaching Artist of All About Us

英譯︰黃澄楓 | English Translation: Janice Wong

這是我第一次在「影像無國界」裡擔任導師。我們組的同學分成中四及中五兩個級別,有來自菲律賓的Marcus、Bryan和Jonathan、尼泊爾的Sami、Madhavi和Jackey、越南的Mahn、巴基斯坦的Ahmed、孟加拉的Fardin和擔任Student Mentor的香港學生Corn,而我也有半個泰國人的身份。所以我們組可能是混雜了最多不同族裔的一組。

首次擔任「影像無國界」導師的Cheuk Teaching Artist, Cheuk, in the camp

首次擔任「影像無國界」導師的Cheuk
Teaching Artist, Cheuk, in the camp

剛開始的時侯,我曾擔心大家會因種族、文化、語言、年齡不同,而無法溝通。想到電影製作要求高度的合作精神,讓我更擔心各種差異會令我們無法合作。可是,在第一個訓練營中,已看到他們懂得分工合作,讓各人發揮所長,同時互補不足。穩重冷靜的Jackey 和組織能力強的Manh 主要負責導演及攝影工作,喜歡攝影但沒有經驗的Fardin則從旁協助。心思縝密、情感豐富的Bryan負責編劇和做演員。細心的Sami、愛化妝的Madhavi和愛音樂藝術的Marcus則負責美術道具。外表嚴肅但表演滑稽的Jonathan負責做演員。充滿怪點子的Ahmed周不時就各方面提意見。我發現所謂因有文化差異便合作不來,是「大人」才有的恐懼。

 

在第一個訓練營中,我記得有一個鏡頭是用Stop Motion 拍攝字母轉動,Ahmed提議字母從一包薯片旋轉狀地爬出來。當下我的反應是太複雜、太花時間。但大家也喜歡Ahmed的建議,所以我們還是按著他的想法來拍,結果大家也很滿意。我才發現他們很純粹,喜歡拍什麼便直接去拍,而「大人」則太成熟,太懂得去考慮時間和資源的問題,往往卻限制了自己或別人去做真正喜歡的事情。

在第二個訓練營中,我們要用三十六小時製作一段短片。我們原笑說不如用一小時拍完,然後用餘下的時間去玩「狼人」。結果,大家還是同樣認真拍攝。當然,去到第二個訓練營,大家開始出現疲態,加上製作時間短促,偶爾也曝露了真性情。但到了後期製作,大家仍然齊心協力完成。Jackey 深夜在找聲效、討論片名,Manh剪接到早上六時,Marcus 到了早上七時還在錄音樂,直至最後一分鐘Bryan和我還在瘋狂上字幕。放映當日,放我們組的作品時,因器材問題,放出來是黑矇矇一片,什麼也看不到。當時,他們有點激動,甚至質問我為什麼不要求終止放映。然而,我看見他們因放映的聲畫效果不好而激動的表情,一直暗喜,忘了處理器材的問題。對了,在乎自己的作品就會如此激動。幸好,最後也解決了放映的問題,而短片重放一次才能安撫這群小伙子。

與學生一同拍攝中的Cheuk Cheuk is shooting with her studetns

與學生一同拍攝中的Cheuk
Cheuk is shooting with her studetns

在兩個訓練營中、籌備十分鐘短片的時侯,我記得他們齊聲說不拍「Romance」類型的題材。最後,他們卻拍了一個愛情故事,而且有同性戀元素。他們一開始並沒打算做同性戀題材,因為組內只有兩個男生想做演員,結果便誤打誤撞寫了一個「同性戀」故事。我故作保守,試探他們會否擔心同性戀題材太敏感,他們卻自信地說這是關於愛的故事,而不是關於性別。再次說明「大人」總是愛標籤、為事情定性。在製作階段,我們連續幾天留校拍攝至十時,翌日早上七時在大學開始拍攝,中午又在巴士上拍攝,下午至傍晚在屋景拍攝…..他們當然是疲倦的,但卻從沒放棄,不同崗位互相接力。最後,Marcus、Bryan還找了同學Claire,一起為短片寫主題曲,配了數段音樂。我永遠都記得,他們初次聽到自己的聲音和樂器錄下來時的樣子,看到作品剪接完成的樣子。他們從沒想到自己竟被自己的故事感動,有人想哭,有人哭了,才發現作品最後夠不夠好,其實一點也不重要,能夠感動自己已經很不容易了。

我想能夠認識他們是一件幸運的事。從沒想像過自己會跟一群少數族裔的學生一起吃譚仔,去海洋公園玩過山車,在菲律賓人家中的露台彈結他。對,他們不只是一群「少數族裔」的學生,他們也有各自的夢想和愛恨。回想起來,我跟他們一樣,在十六、十七歲的時侯開始學習影像創作。與其說我是一個導師,我更認為他們是我的朋友,讓我回到十六、十七歲時的心境,提醒我們拍電影,做任何事情也好,保持率真,才最重要。

 

This is my first time being a Teaching Artist of All About Us. My group of form 4 and 5 students came from many ethnicities: Marcus, Bryan and Jonathan from the Philippines, Sami, Madhavi and Jackey from Nepal, Mahn from Vietnam, Ahmed from Pakistan, Fardin from Bangladesh,  Student Mentor Corn from Hong Kong  , and me who is half Thai. We are probably the most diverse group.

At first, I was worried. I was afraid the different ethnicities, cultures, languages and ages would become barriers in communication, threatening the high team spirit that filmmaking requires. However, during our first training camp, everyone collaborated well. They let their talents shine and made up where others fell short. Jackey the Calm and Manh the Organised took helm of directing and shooting, while the Interested yet Inexperienced Fardin helped from the side. Bryan was careful and sensitive, so he was in charge of the script and acting. Thoughtful Sami, beauty guru Madhavi and music art lover Marcus handled the props. Serious-looking yet humorous Jonathan was also an actor. Ahmed and his whimsical mind helped by sharing thoughts throughout the production. To them, cultural diversity isn’t a roadblock – it is a fear only we adults are vulnerable to.

In the first camp, we used stop motion to create spinning alphabets. Ahmed suggested making the letters crawl out of a bag of chips, which I thought was too complicated and time-consuming. However, everyone loved his idea. So we made it happen, and it was incredibly satisfying. Their goals are pure: they film what they want to film. Contrarily, adults are often stuck on issues like time and resources, holding us back from pursuing what we truly like.

Cheuk不斷從中分享及指導拍攝短片的想法與感受 Cheuk is keen on sharing and guiding students on the film production in the camp

Cheuk不斷從中分享及指導拍攝短片的想法與感受 Cheuk is keen on sharing and guiding students on the film production in the camp

In our second camp, we had only 36 hours to create a short film. We joked about allocating one hour to the film, then the rest playing Werewolf. But when it came down to business, everyone was serious. The group was obviously worn out by the second camp, and the tight schedule put everyone under stress. Still, they were determined to finish it all together, even post production. Jackey stayed up looking for audio effects and coming up with a title. Manh edited till 6 in the morning while Marcus recorded the soundtrack till 7. Me and Bryan worked tirelessly on subtitles until the last minute. On the day of showing, our group ran into some technical difficulties. Instead of showing their hard work, the screen was pitch black. They panicked, asking why I didn’t stop the viewing. In fact, I was too proud of them – they panicked because they cared about their work – so proud I forgot about the situation. Luckily, the issue was fixed soon. We replayed their film, and they were finally happy.

During the two camps in preparation of their 10-minute short film, they all refused to write a romance at first. In the end, they made a love story about two boys. It wasn’t planned – the two leads just happened to be boys, and the story wrote itself. I feigned doubt, asking if the theme was too sensitive. Without hesitation, they told me gender was irrelevant in a story about love. They once again proved adults were too obsessed with labels and definitions. During the production, there were days we stayed on campus till 10 at night and came back at 7 in the morning. We spent afternoons filming on buses, then moving on to indoor scenes. They were exhausted, of course, but nobody gave up. They took turns on set, making sure everyone got a chance to rest. At the end, Marcus and Bryan even asked their classmate Claire to write the theme song and soundtrack. I will always remember the first time they heard their own voices and music from the edited film. They didn’t expect to be moved by their own story. Some were holding back tears, and others were already crying. They realised what mattered wasn’t whether this piece was professional or not – it moved them, and that was good enough.

I’m so lucky to meet them. I never thought I would get to spend time with a group of ethnic minority students. We shared noodles at Tam Jai, went to Ocean Park and played guitar on the balcony of a Filipino family. They aren’t just ‘minority’ – they are young, aspiring souls with dreams and things they love and hate. In retrospect, I was just like them when I first dabbled in film production at 16 or 17. My title may be Teaching Artist but we are more like friends. They remind me of the innocent passion I felt at the beginning – and that’s the most important in anything we do.

在香港長大的日子 Growing Up in Hong Kong

[Scroll down for English Translation]

文︰黃勺嫚,影像無國界導師 | Text: Wong Cheuk-man, Teaching Artist of All About Us
英譯︰黃澄楓 | English Translation: Janice Wong

Bryan正與組員討論拍攝事宜 Bryan was discussing the short film production with his group mates

Bryan正與組員討論拍攝事宜 Bryan was discussing the short film production with his group mates

DotDot Alfs Bryan Pabellan,我們喚他Bryan。他有圓滾滾的眼睛,像兔子的上頷。有時會喚他Dot Dot,聽上來更切合他趣緻的樣子。Bryan現年十七歲,是出生於香港的菲律賓人。不過,他只到過菲律賓兩次。記得第一次到達時,他發現菲律賓原來不如香港繁華。

Bryan在香港出生和成長,他直言自己是一個香港人。他說其他菲律賓同學對菲律賓人身份有更多認同,因為他們有很多親朋戚友的聚會,一聚首便身在菲律賓文化。可是,Bryan的父母先後因病離世,他與兩個姐姐同住,家庭不如其他菲律賓家庭熱鬧,所以他較少機會接觸菲律賓文化,自然較少認同菲律賓人的身份。當然,他知道香港人不易視他們為香港的一份子。他說年長的香港人,總是對他們充滿敵意。有時不小心輕微踫撞,也被人罵得狗血淋頭。住在屯門十多年的他,也沒有相熟的鄰居。他記得曾有鄰居問他可不可以幫忙檢查小孩的英文功課,Bryan當然說好,但最後卻不了了之。

儘管Bryan對菲律賓文化感到陌生,但他如大部份菲律賓人喜歡音樂,富有節奏感和音樂天份。他的父親是樂手,家族裡有人吹色士風和小號,他和姐姐也懂得彈鋼琴。他喜歡廣東歌,會聽張敬軒的音樂,還懂得唱張國榮的《追》。儘管不明白歌詞,但他仍然覺得感動。他說爸爸媽媽非常old-fashioned,因為他們家裡會保留著卡式帶播放器,聽The Beatles 和 Bee Gees的音樂,留著VHS錄影帶來看電影。Bryan說他對電影、音樂的興趣與他的童年有很大關係。他記得小學的時候,去了菲律賓探望重病的爸爸,回港後要待新學年才能上學。每日無所事事,便去表哥家裡看電影。表哥會放不同時代、不同類型的電影給他們看,連經典電影《大國民》他也看過。一說起《大國民》我們便不約而同說出Rosebud。電影最後一幕,主角Kane說完Rosebud便逝去。我們互問對方Rosebud是什麼意思。他說Rosebud代表了主角難忘所失去的童真,因為主角小時侯被父母遺棄時,遺留在雪地的滑雪板名叫Rosebud。他說他看第二次才明白。那時他不到十歲,卻有著細膩的情感。

Bryan is shooting with his group mates 與組員拍攝中的Bryan

Bryan is shooting with his group mates 與組員拍攝中的Bryan

除了看電影、玩音樂,他也想做演員。他想過考完中學文憑試以後,報讀香港演藝學院戲劇系,但不擅廣東話能考入的機會很低。不過他沒有失望,很快又說自己喜歡寫東西,想嘗試讀新聞系、做記者。看過《五星級大鼠》後,還想做美食評論家。讀幼稚園時,更想過做清潔員。難得他仍保持開放的心態,容許自己嘗試不同的事物。當然,他知道在香港生活不容易,為了幫補家庭的開支,他也正在超級市場做兼職,但是他覺得很好玩。

記得,我們組在學校的音樂室開會時,第一次聽Bryan彈奏的是《千與千尋》的配樂。了解他更多以後,覺得他喜歡《千與千尋》也不無原因。《千與千尋》是關於成長,希望他也像千尋般,學會勇敢。

DotDot Alfs Bryan Pabellan – Bryan for short – has round eyes and a pouty, rabbit-like mouth. Sometimes we call him Dot Dot, a cute nickname to match his cute face. He is a 17-year-old Hong Kong-born Filipino. He has only been to the Philippines twice, and he was surprised to find the country much less vibrant than Hong Kong.

Born and raised here, Bryan considers himself a Hongkonger. His Filipino classmates feel more connected to the Philippines – that was because they had plenty of gatherings with family and friends, according to him, which allowed them to share the culture. Bryan, however, didn’t have that. His parents both died of sickness, leaving behind him and two elder sisters. His family is not as lively as others, making it harder for him to reconnect with his roots. Of course, he is aware that other Hongkongers may not consider them as locals. Some older ones are even hostile – Bryan has been yelled at for bumping into someone by accident. Living in Tuen Mun for many years, he still hasn’t managed to make friends with neighbours. Once a neighbour asked if he could help check a child’s English homework, and he said yes. That was the end of that conversation.

Bryan 與其他營友分享有關拍攝短片的想法與感受 Bryan shared his thought and feeling on film production in the last day of camp

Bryan 與其他營友分享有關拍攝短片的想法與感受 Bryan shared his thought and feeling on film production in the last day of camp

Despite his disconnection with his own culture, Bryan loves music. Like many Filipinos, he was born with innate rhythm and musical talent. His father was a musician, a relative plays saxophone and trumpet, while he and his sisters play piano. He likes Canto-pop, especially Hins Cheung, and he knows every note to Leslie Cheung’s classic – Chase. He doesn’t understand the lyrics but it is still moving. His parents were old-fashioned, he noted. They played The Beatles and Bee Gees on cassette tape and watch movies on VHS. His interest in films and music was greatly fueled by his childhood. When he was in primary school, he visited the Philippines to see his sick father. When he returned, he had to wait until the new school year begins. He had a lot of time on his hands, so he went to his cousin’s and watched movies all day. His cousin played classics of different periods and genres, such as the masterpiece Citizen Kane. Talking about the movie, we both mentioned Kane’s last words: rosebud. That was the last scene of the movie, which ended as Kane died. We asked each other what rosebud meant. To him, it represented lost innocence. He pointed out when Kane was abandoned by his parents, the snowboard left in the snow was called Rosebud. He admitted it took him a second viewing to understand the line. He was only ten years old at that time but his sensitivity was beyond his age.

Other than watching movies and playing music, he also wants to act. He has consider applying to the school of drama at the Hong Kong Academy of Performance Arts after DSE, but he knows for someone not fluent in Cantonese, his chances are slim. However, he isn’t bummed. He also likes writing, and wants to delve into journalism. On the other hand, Ratatouille made him want to become a food critic. He even wanted to be a cleaner when he was in kindergarten. Open-minded, he is willing to try anything. Of course, living in Hong Kong is not easy and he knows that. That’s why he works a part-time job at a supermarket to make ends meet. To him, it is yet another interesting experience.

When our group had a meeting in the music room, the first piece Bryan played was from Spirited Away. Knowing him better now, I understood why he liked that movie – it was a coming-of-age story, and I hope he will grow up brave and well, just like Chihiro.

Bryan (左二) 與組員們 Bryan (second left) and his group mates

Bryan (左二) 與組員們 Bryan (second left) and his group mates

用影像拉近我們之間的距離 Shortening the Distance between Us by Films

【文︰林森,影像無國界導師】

2018aaucamp1-625林森、他的組員及學生助理 (「影像無國界」 2018/19)
Lam Sum and participants and student mentor of his group (“All About Us” 2018/19)

今年是我作為 ifva 舉辦的「影像無國界」(All About Us) 少數族裔青年影像創作計劃導師的第五個年頭。光陰似箭,還記得我第一次參與時,我的一些組員還只是活潑佻皮的少年人,現在已變成穩重沉實的大學生。最初答允參與這個計劃成為導師,其實只是因為我當時認為作為讀電影畢業的人,也應該將拍攝電影的知識分享給有需要的人,純粹單方面的思考。經過五年時間的參與,我卻發現,我得到的卻比我給予的更多。

從小到大,學校的教育告訴我們,人生而平等,不應因膚色、種族的不同,而有不同的待遇,這是現代最基本的普世價值,我相信絕大部份人都會認同。我也一樣,最初認為香港是一個自由平等的國際大都會,無論甚麼種族的人,得到的機會都必然是均等的,能否把握,大概就只是個人的能力問題吧。可是,後來透過各種機會,跟在港的少數族裔接觸多了,開始了解到很多時他們在融入社會之前,可能因為制度問題,已將他們排拒在外。參與了「影像無國界」,接觸多了少數族裔的青少年後,從他們身上我更理解到,他們的發展可能已被先天局限了。

還記得,一路以來參與「影像無國界」的少數族裔青少年,製作的短片作品題材除了有較貼近他們文化、類「Bollywood」式的歌舞片外,作為導師,我會鼓勵他們從自身生活經驗出發去創作。所以他們的短片作品主題,很多關於學業、夢想和未來發展等,有幾套印象較深的作品,都分別提到他們在香港學習中文的困難和對於他們未來發展的影響。透過觀看這些青少年創作的作品,我更了解到,除了母語、第二語言英文,原來中文對他們來說是第三語言,而因為中文從文法上、發音到書寫都依從一套完全不同的語言系統,他們能聽能講已相當了不起。如要求他們能完全掌握,甚至流利書寫,實在非常困難。所以,對比以中文為母語的本地學生,他們在學習上的困難是難以想像的。亦因為本港教育制度及職場上對中文程度的要求,他們更難在本地升大學、追求更好發展。很多時我問我的組員「未來想做甚麼?」,他們多數都支吾以對。如果我從沒有參與「影像無國界」、沒有跟他們相處過、沒有看過他們的創作,作為一個土生土長的香港人,我根本不會理解,他們在成長階段原來已需面對很多局限。

當然,造成這些局限的原因很多。我們除了要反思政策上或制度上的問題外,大眾媒體某程度上也有很大責任。記得有次帶領組員到球場的觀眾席拍攝,卻遭到一個租了場的足球隊教練攔阻,更差點發生衝突,原因卻只因為該教練以為參與拍攝的少數族裔青少年們在喧鬧。縱使我們多番解釋,卻還是被趕離場。事後跟我的組員討論,他們對於該教練的反應固然非常憤怒,但他們更在意的,是造成這位教練對他們存有偏見的原因。其實只要看看每天的新聞報導及主流電影電視作品中,普遍如何描述少數族裔,我們就會知道答案。

「影像無國界」是這個時代一個很好的平台,為少數族裔青少年提供機會,透過電影創作,訴說他們的故事。它同時是一個溝通媒介,讓少數族裔學生掌握發聲機會,令大眾透過他們的創作,了解他們更多,消解我們之間的偏見及誤會,一同尋找共同生活的可能性。

 2018aaucamp1-293林森與他的組員 (「影像無國界」 2018/19)
Lam Sum and participants of his group (“All About Us” 2018/19)

Text: Lam Sum, Teaching Artist of All About Us

This is my fifth year being the instructor of All About Us, a creative filmmaking project for ethnic minorities youths organised by ifva. How time flies. I still remember the faces of those lively, playful teens during my first year of participation, though they have now become mature, down-to-earth university students. The reason why I initially agreed to be an instructor for this project is simply because I believed as a graduate of filmmaking, I should share my knowledge in the field with people in need. It was a one-sided thinking. After five years of participation, I finally realise that what I have gained far exceeds what I have given.

Growing up, formal education teaches us that all people are equal. People of another skin colour or ethnicity should not be treated differently. This is the most basic universal value with which most people, I believe, would agree. I, too, initially considered Hong Kong as a free and equal metropolitan where people are entitled to the same opportunities regardless of ethnicities. It probably only comes down to personal abilities that determine whether a person could successfully seize the opportunities or not. However, after frequent contact with ethnic minorities in Hong Kong via various channels, I began to understand that a lot of them might have already been excluded by institutional causes way before they are even given a chance to get assimilated into the society. All About Us allows me to get closer with ethnic minorities youths. I learn from them that their developments may have already been limited by outside factors.

As an instructor, I often encourage the ethnic minority youths taking part in All About Us to create short films based on personal experiences other than merely following the Bollywood-style dance films close to their cultures. As a result, a lot of their short films are about their school life, dreams and future developments. A few memorable works talk about the challenges they face in learning Chinese in Hong Kong and the resulting effects on their future. Through these works, I further realise that apart from their native tongue and English as a second language, Chinese is a third language to them. As Chinese possesses a completely different linguistic system in terms of grammar, pronunciations and writing, it is already quite a feat for them to be able to speak and understand by listening. It is extremely demanding to expect them to be able to completely grasp the language or even write fluently. Therefore, compared to local students whose first language is Chinese, the difficulties that these ethnic minority youths encounter in learning are almost unimaginable. The requirement for Chinese at schools and workplaces makes it even harder for them to enter universities and pursue better developments in Hong Kong. I often ask my groupmates, “What do you want to do in the future?”, a question that is mostly met with equivocal or uncertain murmurs. If I had not taken part in All About Us where I spend time with these youths and see their works, I would not be able to comprehend the many limitations imposed on their growth.

Of course, there are many reasons for these limitations. Apart from the existing issues in our policies or institutions that require rethinking, a great deal of responsibility can be attributed to the mass media. I remember I once took my group mates to the audience seats of a football field for shooting. We were stopped by the coach there who rented the field, which nearly led to an altercation. It was simply because the coach stubbornly thought that the ethnic minority youths were trying to make a racket. Despite our many attempts to explain the matter, we were eventually driven out of the field. During my later discussion with the groupmates, they were of course angry with the coach’s reaction. But what really bothered them the most was how the coach had come to be so prejudiced and discriminatory. A casual look at how our everyday news and mainstream movies and TV dramas depict ethnic minorities would have easily revealed the answer.

All About Us is an excellent platform in this generation for ethnic minorities youths to tell their stories through filmmaking. It is simultaneously a communication channel through which these youths can make their voices heard and let the public understand them more through their works, dispelling any prejudices and misunderstanding and seeking further possibilities in living together harmoniously.

五人足球場上的板球夢 The Cricket Dream on a Five-a-side Football Field

【 文、攝:羅志明 Jimmy Lo,畢業於中大文宗系碩士,從事影像及紀錄片製作 】

作為香港社會族群一份子,居港少數族裔的聲音一直鮮見於各主流媒體。大眾對少數族裔生活文化的不理解,或多或少產生或鞏固了種種對少數族裔的刻板印象 (stereotype),延續了他們在社會上弱勢群體的狀態。ifva自2009年開始舉辦「影像無國界」少數族裔青年影像教育計劃,旨在為少數族裔提供一個文化平台,以影像為工具,讓他們的故事被大眾看見 (visible)。

「影像無國界」踏入第八年,少數族裔的故事每每讓我們感到驚喜,亦同時自慚於對他們日常生活的無知。當文化和政治即日常 (ordinary),在鏡頭內外,究竟甚麼才是少數族裔的「日常生活」?在今年影像無國界營會中,我們發現不少南亞裔青少年均熱衷於板球活動。一到自由時間,他們便拾起球具,打個不亦樂乎。透過這個機會,我們希望讓大家認識光影背後的少數族裔「板球日常」。

僅次於足球,板球 (Cricket)是全球第二受歡迎的運動。它也是居港少數族裔熱門運動,如它便是巴基斯坦的國家運動之一[1],唯此運動在港卻甚少受到注視。近年政府提倡「體育精英化」,把資源集中於已有卓越成績的項目及個別精英選手,但對較「冷門」的運動和青年選手的支持則未盡完善。

自己運動自己推
現時葵青區至少有約18,000多名南亞裔人士[2]居住,當中巴基斯坦人佔約3,700人。香港聖公會麥理浩夫人中心板球隊(下稱「LMC 板球隊」)於 2011 年成立,板球隊領隊兼社工 Tauqir Ahmad 指出,未有球隊前常見少數族裔青年在公園、足球場或籃球場打板球。該區並無板球場,只有業成街五人足球場是唯一允許打板球的公眾球場,故他們常受驅趕,像遊牧民族般不斷遷移到無人場地作訓練。有見及此,LMC 便成立了兩個年齡組別的球隊,分別是「13歲或以下」及「17歲或以下」組別,讓少數族裔可在安全、有專業裝備及教練下得到訓練。

縱然場地問題嚴重,仍有無數少數族裔青少年願意投身這個運動。隊員Osman 於香港出生,十歲時開始打「簡易板球」(Tape-ball Cricket)[3] 。簡易板球的好處是便宜──由於正式的木製硬球須花約200港元,對於大部份基層少數族裔青年而言,這是個很大的負擔。Osman 加入板球隊後,學習專業「硬球訓練」(Hard-ball Cricket) 已一年多。他指「年前搬到安蔭後,在球隊不單能認識新朋友,更能加強體格訓練和自信心。」

訓練受驅趕,板球路難行
Osman希望將來能打出成就,並有志成為香港板球隊員,但由於沒有正式訓練場地,他練球時經常被保安驅趕。「保安員會拿出對講機說『這裡有幾個巴基斯坦人打板球』,試圖嚇走我們。有時保安更報警,警察到場後便叫我們到較遠的足球場練習。」

社工 Ahmad 理解球員被趕的原因,但仍感無奈。「我們明白場地有分作足球或籃球之用,但區內沒有正式板球用地,我們想打板球,應該要去哪裡?閒置球場便成為我們的次選。」

問及 Ahmad 帶領球隊有否困難,他說:「香港學生學業壓力不少,我希望可讓隊員在安全和沒有太大壓力的情況下進行訓練。」他除了傾向以朋友的方式、平等的態度與球員相處外,更會帶領隊員參與社會義務工作。板球隊曾到大帽山進行垃圾回收,除了希望加強球員合作性及團隊精神外,更希望讓他們了解,少數族裔青年作為社會的一份子,應用自身力量貢獻社會。

結語
現在,LMC 板球隊在香港板球總會舉辦「13歲或以下組別」的在過去五場比賽中已取得四勝一和的,憑佳績高踞榜首,潛力不容忽視。他們面對的場地問題,不單影響少數族裔年輕人追逐板球夢,亦容易加強少數族裔與他人的對立,更阻礙青少年成長時期的自我價值及信心。「影像無國界」本著每個人生而平等的信念,尊重人有不同的背景、喜好及選擇,無論透過影像、透過運動、透過學業,我們相信少數族裔青年值得發展潛能的空間。對於來自不同國家的文化,如每個人願意多行一步去互相了解,要達至社會共融不遠矣。

附註:香港聖公會麥理浩夫人中心少數族裔服務 http://www.skhlmc-em.org/index.htm
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[1]板球起源於英國,據說是透過英國士兵和軍官流傳到澳洲、印度、巴基斯坦、南非和加勒比海地區,至今在這些國家仍極受歡迎。
[2]《2016年中期人口統計結果》地區概覽葵青區,http://www.bycensus2016.gov.hk/tc/bc-dp.html
[3]「簡易板球」(Tape-ball Cricket),這項運動由硬球(Hard-ball Cricket)演化出來的街頭運動,源自於巴基斯坦的卡拉奇,是現時巴基斯坦其中一項最熱門的街頭運動。這項運動的特點是相對硬球而言,較輕便、便宜。另外,Tape-ball 相對較輕,而硬球是網球約七倍重,因此在街頭使用 Tape-ball 較為安全。而專業板球賽事主要以「硬球」作賽。

【 Text & Photography by Jimmy Lo
A master’s degree graduate of the Department of Cultural and Religious Studies, the Chinese University of Hong Kong. Devoted to the production of moving images and documentaries. 】

As members of the society in Hong Kong, the voices of ethnic minorities are rarely heard in mainstream media. The general public either do not understand the minorities’ living cultures, or it more or less creates or reinforcing stereotypes that perpetuate the status of the minorities as the more socially vulnerable groups. Since 2009, ifva has launched “All About Us”, a filmmaking educational scheme for young people from ethnic minorities, as a cultural platform for ethnic minorities to express and make their stories visible to the general public through moving images.

As “All About Us” enters its 8th edition, the stories of ethnic minorities continue to surprise us and put us to shame as to how ignorant we are about their daily life. As politics and cultures become part of the ordinary, what exactly constitutes the “ordinary daily life” of ethnic minorities behind the camera? In the camps of this year’s “All About Us”, we discovered that many ethnic minority youths are passionate about cricket. Once there was free time, they would immediately pick up the cricket bats, fully enjoying themselves with hitting the ball. On this occasion, we hope to let people know about this “daily life with cricket” that ethnic minorities lead beyond the films.

Cricket is the second most popular sport around the world after soccer. It is also very well-liked by the ethnic minorities in Hong Kong, such as Pakistanis, who value it as one of their national sports[1]. However, cricket is rarely emphasised in Hong Kong. Despite the government’s efforts in promoting elite athleticism, most of the resources are concentrated in sports that already boast excellent records or specific talented athletes. Support for the relatively “less common” sports and their young athletes is insufficient.

Pushing Its Own Sports Forward
There are now approximately 18,000 residents of Southeast Asian ethnicities living in Kwai Tsing District[2], of which about 3,700 are Pakistanis. The H.K.S.K.H. Lady MacLehose Centre (LMC)’s Cricket Team (The LMC Cricket Team) was established in 2011. Tauqir Ahmad, its team manager who also doubles as a social worker, points out that before the team was formed, ethnic minority youths often played cricket in parks, football fields or basketball courts. There is no cricket field in the district, and the five-a-side football field is the only public place that allows cricket-playing. Therefore, these young people were often chased away like nomadic groups, continuously “migrating” to unattended areas for training practices. In view of this predicament, LMC established two cricket teams according to age category, which are that for “people aged 13 or below” and that for “people aged 17 or below”, ensuring that ethnic minorities can receive training in a safe and well-equipped environment under the guidance of a coach.

Although there is a serious shortage of cricket fields, many youths from ethnic minorities are still very eager to participate in this sport. Osman, one of the team players, was born in Hong Kong. He has started playing Tape-ball Cricket[3] since he was 10. The merit of Tape-ball Cricket lies in its low cost – the official wooden cricket bat, which costs around 200 HKD, is a huge burden for most youths from these ethnic groups at grassroots level. After joining the cricket team, Osman has learnt to play the professional Hard-ball Cricket for more than a year now. “After moving to On Yam Estate about a year ago, I have improved my physical training and boosted my self-confidence, in addition to making new friends,” he says.

Expelled during Trainings, an Arduous Path in Cricket
Osman hopes to achieve success in cricket and make it to the Hong Kong National Cricket Team. However, as there are no official training sites available, he is often driven away by security guards during training. “The security guards would talk into their walkie-talkies, saying “there are a few Pakistanis playing cricket here” in an attempt to scare us away. Sometimes, the security guards might even call the police, who come to tell us to practice in football fields further away.”

Ahmad, the social worker, understands why team players are expelled and feels very helpless. “We are aware that the sites have specific purposes of playing football or basketball. But since there is no official cricket field in the area, where should we go when we want to play cricket? Unattended field or courts inevitably become our choices.”

When asked if there is any difficulty in leading the team, Ahmad says, “Hong Kong students face a lot of pressure academically. I hope the team players can practice in a safe and relatively stress-free environment.” Apart from treating the team players as friends and equals, he also leads them in social volunteer activities. The team once had an outing in recycling rubbish in Tai Mo Shan. In addition to strengthening the sense of cooperation and team spirit among players, it is hoped that these young team players can understand how they should contribute to the society in their power as members of the society.

Conclusion
As of now, the LMC Cricket Team has achieved four victories and a tie in the last five games in the category of age 13 or below, organised by Hong Kong Cricket. The team has stayed at the top of the chart with an excellent score, and its potential should not be overlooked. The lack of training sites does not only impede the dreams of many youths from ethnic minorities in making it big in cricket, but it also easily worsens the strife between the ethnic minorities and others, adversely affecting these young people’s sense of self-worth and self-confidence during their growth. Upholding the belief that everyone is born equal, “All About Us” respects the distinctive background, preferences and choices of every individual. We believe that youths from ethnic minorities deserve a platform where they can flourish and develop their potential, irrespective if it is through moving images, sports, or academic studies. If each and everyone of us is willing to take an extra step in understanding people of different countries and cultures, social harmony will certainly be within sight.

Note: H.K.S.K.H. Lady MacLehose Centre, Services for Ethnic Minorities Unithttp://www.skhlmc-em.org/index.htm
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[1] Cricket originates from the UK, and it is believed that cricket spread to Australia, India, Pakistan, South Africa, and the Caribbean by British soldiers and officers. Cricket is still very popular in these regions today.
[2]《2016 Population By-census Results》Demographic Profile of Kwai Tsing District Council District, http://www.bycensus2016.gov.hk/tc/bc-dp.html
[3]Tape-ball Cricket is a street sport evolved from Hard-ball Cricket and was originated from Karachi in Pakistan. It is one of the most popular street sports in Pakistan today. It possesses the characteristics of being cheaper and more portable, as compared to Hard-ball Cricket. A tape ball is also deemed safer to be played in the streets as it is lighter, whereas a hard ball is used mainly in professional cricket games as it weighs seven times of that of a tennis ball.

彈著結他傾劇本──少數族裔青年和本地青年的不同

文:楊兩全,畢業於香港中文大學新聞與傳播學院,從事影像及文字創作。

「影像無國界」是一項為香港少數族裔青年而設的影像教育計劃。在2015/2016年的計劃中,活動導師王綺美和林森分別聯同兩班組員,創作出兩段劇情短片The Ghost Friend (2015)以及The Magical Pen (2015)。問及他們和少數族裔學生一起拍片的感覺,他們不約而同表達出一種相近的體會──率性、大膽、直接。

導師王綺美和林森都在本地中學教拍片,均感覺少數族裔青年和香港本地青年創作的個性、思維、氣氛都很不一樣。

不會當你是權威

「香港學生比較聽話,他們會跟照你的指示去做。」王綺美這樣形容本地學生。她給本地學生automatic writing(自動書寫)作為創意練習的功課,學生們都會寫。可是,當她叫少數族裔學生寫一封「給觀眾的信」,希望他們思考觀眾的感受,六個組員卻只有一個交。少數族裔學生比較不聽話、自我,如果用一般中小學生的標準來看,大概可以用「曳學生」來形容。

導師王綺美與組員

導師王綺美與組員

「他們(少數族裔學生)只是當你buddy,不會當你是權威。你要講清   楚每件事背後的理由,不然他們不會接受。」王綺美分享自己和她組員 的教學相處,自己要先花時間和他們聊天,跟他們成為朋友,建立關 係,才可以真正教他們拍片。雖然如此,他們其實並不難相處,「只要 一開口,就好快可以熟」。

基於這兩種截然不同的個性,本地學生會「跟得足啲」,少數族裔學生 的作品難免會有多少「甩漏」。王綺美說,他們也認為自己的作品The Ghost Friend,主題是有點模糊不清,但王綺美認為不要緊,這就是學 習的過程,試過才會知道問題。可是,這樣的創作態度還是有其可貴之 處,如在鏡頭的處理上,他們率性的嘗試往往會帶來驚喜。王綺美給她 的本地學生看過他們的作品,大家都欣賞他們率性自然的鏡頭運用。

彈著結他傾劇本

CAMP-132

導師林森的組員

香港本地學生的時間表排得密密麻麻,功課沉重,學業壓力大得令人喘不過氣。本地學生給林森的感覺是很拘謹,好像受到很多無形的掣肘,即使問問題也很少人回答,看完短片沒什麼反應,這是常態。至於少數族裔學生,雖然也在港讀書,但他們的包袱好像沒那麼沈重,思維也就比較輕鬆,熱衷於發表自己的想法,十分活潑。這是林森對少數族裔學生的觀感。

「每一次開會傾故事,他們都會帶著一枝結他,每個人都會彈、都會唱,將結他一個傳一個。第一次見面,就已經這樣。本地同學沒可能這樣,一點也不怕醜。」導師林森這樣形容他和他一班少數族裔學生一邊彈結他,一邊傾劇本的情況──的確,很好玩,很有活力。

王綺美也認同少數族裔學生比較大膽主動,就以「誰想做演員?」這問題為例,本地學生不會有人舉手,少數族裔學生則會搶著做,這是本地學生和少數族裔學生的一大分別。

「離地」的想像

香港學生和少數族裔的創作題材也各有不同。林森說,自己身邊的本地學生關心的,多是校園生活,如功課、考試等;王綺美說,她的本地學生會嘗試討論社會議題,如「網絡廿三條」(版權修訂條例)等,都是源自生活。而林森認為,少數族裔學生的創作靈感,則來得比較簡單直接,他們平時喜歡看什麼片,就會想拍什麼片。細看「影像無國界」這幾年的作品,不難發現,他們的作品多次出現動作片、黑幫片的題材,或者這和他們較常接觸的主流商業片有關。

林森與組員拍攝Magic Pen

林森與組員拍攝 The Magic Pen

林森一組創作的劇情短片The Magical Pen,則富有相當的科幻元素。故事就由某位組員提出,「有一枝畫筆,畫什麼就有什麼,但只有自己看到,別人看不到」這一個奇想開始,然後各組員你一句我一句,慢慢發展出有起承轉合的故事。或者這和他們的生活沒有很直接的關係,但至少他們覺得好玩、有趣。

王綺美一組也有類似的情況。本來她和各組員一起討論主題時,談及他們一些生活面對的困難,如:未能達到父母期望、單親家庭下的成長等等。討論了兩堂後,編劇寫了一個大綱出來,卻竟然是一個鬼故、講友情。王綺美笑說:「很難捉摸他們的思維邏輯,跳得太快。」

不一樣的他們

這次「影像無國界」計劃,林森和王綺美的組員,主要來自巴基斯坦、菲律賓、尼泊爾這一帶南亞國家,有些在香港土生土長,有些只來了香港三四年。他們與本地青年的學習態度迴異,創作比較率性、大膽、直接。這或許和他們自身的文化特質有關?還是他們根本沒有像本地學生般,深受香港傳統的教育文化影響?

 

女孩的空間

2_IMG_2642

【文:陳錦榮 John Erni,香港浸會大學人文學院系首席教授及人文與創作系系主任。】

不難發現,大多數 All About Us 的影片都是由少數族裔的青年男性執導,並以男性作為故事的中心人物。因此,All About Us 四年以來惟一一部以年輕南亞裔女性作為焦點的Reflection (2012),的確值得大家特別評論。這也是Gender and Football (2013),一部講述男孩和女孩之間競爭的作品, 能夠脫穎而出的原因。在評論這兩套與眾不同的影片前,請先讓我談談在All About Us的影片中所展示的性別問題,以及影片中視覺與敘事所表現有關「女孩的空間」的概念。

多年來,All About Us 致力鼓勵更多的年輕女性加入這個計劃。但自四年前推出該計劃以來,性別分佈不均的情況一直存在。社會、家庭、倫理和宗教因素,迫使很多年輕的少數族裔女性,不能參加這個要求性別聚合和協作才去進行的計劃[1]。

故此,「女孩的空間」值得我們首要的關注,因為這就是如此一個特殊的空間,既讓少數族裔婦女「可見」(visible),而又被約束。

當成為「可見」的時候,南亞裔女性就被展示成:母親和祖母(Mother’s Love (2010); My Grandma (2010))、舉報校園犯罪的人(School Idiots (2011))、粗暴的男孩身邊溫柔的朋友(Santiago Clause (2012))、女兒(The Doll (2012))、沒有回報的情人(Everyway (2010);Troubled Love (2013))、女惡霸(Everyway (2010);Troubled Love (2013))、欺凌的受害者(Everyway (2010);Jellyfishman (2013)),以及廚師(Making Momo (2010))。這些女性角色多被描繪在學校或家庭環境中(尤其是廚房和臥室),或多或少,反映了女性被約束在限制空間的意識。這也是我們從這些影片觀察到有關「女孩的空間」的第二個意義。這些代表年輕女性的角色,似乎將年輕女性簡化為純粹被馴養的、忠心乖巧的人。

可見,但被馴化了,這是讓人熟悉的一個銀幕上女性的窘境。因為它已經在本地及國際的媒體和性別研究中,一次又一次地被證明。但是,我想指出讓人更憂慮的是:少數族裔的婦女和女孩,似乎也在不知不覺間「分配」(assign)了自己到學校和家庭之中。當然,我們不可能從這些簡短的影片中,把少數族裔的婦女和女孩對存在的渴望講述出來。於是,我們只能推測,學校和家庭是她們主要的「安樂窩」(comfort zone)。在那裡,她們覺得自己有創造故事情節的可能性,並且,明白如何去創造。這些角色的「分配」,或者更準確地說,「自我分配」-亦描繪了她們自己(舒適的)生活片段,如學校女生、家庭主婦、照顧弟妹的姐姐等等。相比之下,在All About Us的影片中,男士和男孩經常置身於街道的空地和體育場館。問題的關鍵不僅僅是一個純粹的對比 (女生被限制對比男生的活動自由) 它更反映了少數族裔婦女和女童在社會環境下的前景。那些在包圍著女性跑來跑去的男人和男孩,投射出一個以他們不斷行動和喧鬧的社會背景。當包圍婦女和女童的世界移動,她們卻仍然在固定位置上,或多或少的停留。我們鮮有能看到她們跑動,互相追逐,或處於一般運動的狀態中。

因此,當南亞裔的婦女和女孩有所移動時,我們理應特別注意。在一些All About Us影片作品中,我們很愉快地可以看到,它們展示了另一種「女孩的空間」。其中,它們重新定義了慣常會保留給男性自由的可移動空間。如上文提到,Reflection(2012) 是All About Us四年以來惟一以年輕少數族裔女性為中心的影片。這是關於一位年輕女子鬧鬼的故事。[2]她在自己的公寓看到了很多令人恐懼的幻覺,並被告知公寓內住滿了鬼魂(一位南亞裔女同伴警告她公寓內有鬼魂)。這部影片有出色的視覺效果,如飛行物件、模糊身影、 一閃即逝的人體殘骸等。在這段影片中,家再不是一個安樂窩,而且主角從來也沒有感覺到被馴化。我不想去猜測為什麼這部影片要以恐怖片的形式去講述一個年輕女子在自己公寓的故事。但是,我想說明它是如何脫穎而出地成為可以積極地重新定義「女孩的空間」的作品。換句話說,有些人可能在這個影片中閱讀到女性生存的黑暗面。但我認為更重要的閱讀,就在於它重新指示了女性的空間: 有屬於這個空間干擾、間斷和分裂。

Gender and Football (2013)是另一套試圖以「男性空間」的分裂方式以重新繪製女性空間的作品。如果在Reflection中,家是被反常態化的;那麼在Gender and Football中,學校就是它想分裂的空間,更準確來說,指的是學校的足球場。不同於Killer x 2 (2012)描述無辜的孩子們在打籃球時被較年長的惡霸騷擾,Gender and Football中的足球運動,本身就充滿了陽剛氣的虛張聲勢。少數族裔女孩的足球隊,亦因此發現自己在足球比賽上被男生輕視。男孩們想用他們的技巧去排擠女孩,但是他們完全忽視了這班女孩一樣是競爭對手。女孩們認為只要她們努力練習,並且團結得像男孩一樣,她們終有一天可以在比賽中勝過男孩。她們用帽子和足球服裝去偽裝自己,然後去挑戰男生。隨後的場面表明,在運動技能以外,足球場已經轉化為「平等」的場域。這班男孩現在視這班前來挑戰「男孩」,並認真地視對方為競爭對手。自此,「男孩」們茁壯成長,並在最後贏得了比賽。在整個影片中,在移動中的女孩是引人注目的的視覺符號。女孩在足球比賽上的流動性,既是一個現實,又是一個抽象符號,好以指出女孩成功地在原本會被排除的空間中重新繪出她們自己的空間。

總的來說,在這些影片中特別值得大家反思的是女孩的空間。All About Us招收更多的年輕南亞裔女孩的努力並沒有浪費。影像世界中和少數族裔的社區的真實世界的女孩,往往只會被男性的活動所包圍,All About Us的影片則提供了影像世界所急須的性別平衡。

 

[1]在AAU招募過程中,有某些宗教信仰和/或文化傳統的家長禁止男女生之間的直接接觸。

 

[2]影片The Doll (2012)也是恐怖類型片,講述一個少數族裔女孩被她母親的死亡困擾。還有一點,它跟Reflection相似的是,故事的發生幾乎完全在女孩的臥室。

從懲罰到寬恕

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【文:陳錦榮 John Erni,香港浸會大學人文學院系首席教授及人文與創作系系主任。】

在All About Us 的影片中有一個顯著主題:它圍繞著傷害、懲罰與寬恕的關係。姑且讓我們將這個隱含的主題稱為「無意識的故事主軸」,而有很多年輕的少數族裔穿越想像的領域去建造它。大部份這類「無意識的故事主軸」都是由於年輕的男生想透過復仇情節,去表現出男性主義而寫的。但是,透過年輕南亞裔男女在影片中的敘述,它又突出了通過寬恕恢復和平的重要性。

為什麼傷害、懲罰和寬恕之間的關係,能夠在這些作品中成為一個經常性出現的題材呢?我立即想到了街頭的陽剛氣。這種對暴徒或強盜有強烈迷戀的情況,可能反映了在少數族裔青年的現實生活對在自己居住和娛樂的公共屋村裡的流氓所得到的觀察和經驗。然而,這些影片的風格更加反映了這些想像是來自一個更大的源頭:荷里活或寶萊塢黑幫片混雜港式警匪片風格。這種類型經常可見於影片中戴太陽眼鏡、穿黑西裝、舉止瀟灑的黑幫人物。公事包是可有有無的,但是隨身攜帶的手槍卻是這個黑幫人物必不可少的。手槍成為了他強大的力量、決心和自信的延伸。雖然這類007作風的動作英雄受到愛戴,但是這個既優雅又溫文有禮的黑幫罪犯並不來自國家安全局。相反,這個英雄都是從街頭、倉庫區,以及大都市的基層角落中被召喚出來。在Killer x Translator (2011)中,一個職業殺手因為只能說烏爾都語,因此他聘請了一名翻譯員。情節發展下去,這套影片的喜劇意味比暴力意味更多。殺手和他的翻譯員,後來追查到一個中國男子身上:為什麼這個中國男子會成為了他們的目標呢?通過這一連串殺手批評中國男孩的衣著和居住地方缺乏風格的胡言亂語,對峙場面被滑稽地表現於觀眾眼前。殺手形容男孩的衣服和地方為「一塌糊塗」。然後,殺手警告男孩脫掉他的衣服,否則男孩將面臨可怕的後果。在這裡,為了讓大家感到傷害所帶來的快感,街頭的陽剛之氣被表現為胡鬧荒唐的孩子戲。在故事的開場,翻譯員接到殺手打來要求協助時,他期待殺手正在玩的是射擊類型的電子遊戲。在Killer x Translator中,遊戲片段和槍戰場面互相重疊播放,旨在追求出一個純粹的興奮感來恐嚇對方,並且要逼使他投降。

Killer x Translator其實還有續集-Killer x 2 (2012),它帶領觀眾來到公共屋村的場景。當兩個年輕南亞裔青年在球場上打藍球時,有兩個年齡較大的惡霸突然出現。接著,一場戰鬥就在籃球場上醞釀。與Killer x Translator一樣,這部影片以街頭男孩一種遊戲式欺凌為敘事主線。但很快地,另一個主題出現並取代了原先的主題:懲罰。一開始,惡霸把兩個男孩打得落花流水。但不久,影片中有兩個身形寵大的傢伙前來拯救這兩個男孩。接著,另一場真正的戰鬥接踵開始:惡霸反過來被打敗了。當我們以為他已經得到懲罰之際,故事轉而帶給觀眾另一個驚喜:影片傾斜拍攝慢動作拍攝兩人對打的場面,然後有一個人物走向他們。這一幕讓人想起一套經典電影-《英雄本色》(1986)。而這個突然出現的人物其實是一年前Killer x Translator中被欺負的中國男孩!他認出在籃球場惡霸其實是一年前欺負他的殺手。接著,懲罰升級成為復仇。這個中國男孩帶著一種凶猛的暴力感覺回來。最終他槍殺了這場爭鬥中的每個人,然後他得意揚揚地離去[1]。

儘管這些影片其實都是用孩子氣的感覺去拍攝的,但是它們仍然體現了一個相當原始的「以暴力作為懲罰」的感覺。通過格式化的拳打腳踢,街頭追逐,最後槍擊的詳述,傷害最終得到傷害作為懲罰。這背後隱藏什麼問題呢?我猜想的是:這些黑幫主義的影片透過表達兄弟情誼來找尋日常生活中「男性化」的英雄。從這些敘述中可以看到,年輕少數族裔青年的想像源於他們自身對強大的保護人物的嚮往。這種打鬥和為了自己的兄弟槍擊的衝動確實是幼稚和非原創的。[2]然而,它反映了少數族裔青年可能每一天也活在充滿恐嚇和迫害的現實社會環境。嚴格來說,「懲罰」和「報仇」不相同。懲罰和純粹一心一意的報仇不同,因為懲罰涉及尋找補償。換句話說,「懲罰」希望得到一個歸還、一個賠償,甚至一筆賞金。我傾向認為這些影片其實具有報應意味的敘述,它體現了他們尋找,或者渴望有一個可以保衛和拯救他們的英雄人物出現,然後「償還」他們所受過的傷害。

然而,我們也發現在All About Us其他的影片中也呈現出另一種英雄類型。在Everyway (2010)中,一個年輕的女孩被她的一個朋友欺負,後來,女孩原諒了這個朋友,而她也獲得一個男孩的愛;在School Idiots (2011),有一個賊在街頭追逐和打鬥中被抓住了,而他最終被他的朋友原諒;在Santiago Clause (2012),一個不守規矩的學校惡霸被一段真正的友誼所感動,最後他行為上完全的改變(他打扮成聖誕老人,並派禮物給他以前傷害過的人)使他獲得大家的寬恕;最後,在Jellyfish Man (2013)中,一個超級英雄的幻想故事為日常中的恐嚇和欺凌提出了一個解決方案,這個以正義為本的動作英雄的目的,不是懲罰,而是為弱者提供公正的保護。

最終,這些影片反映一個重要的社會現實:迫害。不少少數族裔年輕人直接或間接地都經歷迫害,而且不幸地,這也成為了他們日常中的想像, 然後將其投射在屏幕上。在這個意義上,我們應該感到高興的是,這些影片不只反映他們希望獲得補償(黑幫的生活模式),幸好他也希望達到和解(同樣吸引人觀看的另一種生活模式)。

 

[1]一些類似的幫派打鬥模式(或多或少由相同的人演出)也可在Once Upon a Time in SSP (2013)可以發現。

[2]在The Dark Dream (2012)中,付贖金救人的受害者是現實中的兄弟。在這段影片中,主要的打鬥場面發生在一個墓地旁邊的沼澤,突出受害和懲罰的真正黑暗面。

權力和真實性

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【文:陳錦榮 John Erni,香港浸會大學人文學院系首席教授及人文與創作系系主任。】

 

對於All About Us,非常關鍵的是,我們希望以製作影片作為一種途徑,讓少數族裔青少年可以通過它去表現自己。他們是誰?他們的日常生活是怎樣的?他們對香港社會有什麼感受和看法?他們的夢想和恐懼是什麼?然而,這些表現的途徑,又意味著很多東西,其中之一就是「權力」(authority):當你握著相機並通過取景器去選擇畫面,如何去建構,以及選擇以什麼故事情節去建構時,當下的你便持有相當大的文化權力!就像一個木匠或珠寶製造商擦亮他們的工具,得以創造一個既獨特又具原創性的家具或飾品;一個影片製作者則以他/她的技術去支持某種視野的真實性(authenticity)。

權力和真實性之間的聯繫是由英國思想家Raymond Williams在40年代後期提出的。Williams是一個工人階級的知識分子。他總是記掛自己是來自工人階級的,並反思儘管工人階級的人民生活困難,他們還是感到有尊嚴。在Williams有關現實中普羅大眾的特質的書寫中顯示,他們意識到自己有選擇生活方式的權力。換句話說,他們的生活並沒有被貴族階級的界定和限制說了就是。這種日常的權力通過一個普遍並經常性出現的集體自豪感被發現。在真實生活中,工人階級的生活向世界展現。在All About Us計劃的背景下,我們可以找到有一定程度上相似性的自豪感和真實性。這將會使Williams和其他與之一流的思想家感到高興。

當然,許多少數族裔青年都是影片製作的外行人。他們以孩子玩意的心態參加工作坊。他們的短片往往是猶豫不決的拍攝和粗糙的剪輯成果。他們並沒有想過文化權力和真實性的問題。雖然他們可能是粗枝大葉的,但是這些影片似乎盛載著他們表達自己日常生活中的一些想法的渴望。對於一些少數族裔青年,All About Us可能為他們提供了第一次思考並捕捉其生活的日常環境的機會(校園、街道、公園、籃球場、公共屋村、家庭等)。更多的是,他們最終帶點笨拙地完成的作品似乎是他們追求「未來」的表達。無論這種「未來」會不會與日常生活有一個不同的色彩、不同的形象(包括成為犯罪團體的頭目、一個超級英雄、或成功的街頭藝人),還有一個不同的將來。這些影片中有幾個例子足以證明「文化權力」和「真實性」,在於它們並行的展露:一,他們對自己的環境的捕捉;二,超越的視野。

Someday (2011) 在眾多影片中脫穎而出。首先,它是四年以來的所有作品中惟一沒有參加者在影片內飾演任何角色的;其次,這段影片雖然用了最多的搖晃鏡頭(wandering)和溶鏡(dissolve)捕捉香港的日常生活環境。Someday從一個年輕泰國女子的角度拍攝。影片帶領觀眾從一個高架鐵路的地鐵列車的窗口,慢慢地把切入到一個購物中心和維多利亞港旁邊的一群模糊了的市民和他們的活動。沒有情節、人物、或任何演奏,它只有泰國的女旁白。她告訴我們關於她的平日上學的路程、她最好的朋友,以及她享受單獨一個的感覺。這段影片是一個調子美妙地表達出年輕的影片製作者,嘗試如何看她身邊的世界,它是一個簡短,但發人深省的沉思。

另一種「文化權力」與「真實性」的例子出現在Chinese Desi Style (2011)。再一次,影片從少數族裔的角度進行拍攝,它找尋中國與南亞文化和傳統之間的差異和相似,並且使用了平分畫面的方法:在一側播放中國文化生活的同時,另一側則播放南亞文化和宗教傳統。儘管影片看上去像一個文化旅遊的推廣,但是它做了一些與眾不同的事:它沒有向觀眾驕傲地展示少數族裔文化的片段,而實際上嘗試告訴大家:華人在這個城市​​的生活,本身就是一個種族生活!為什麼它與眾不同?在這個人口96%為華人的城市,我們很容易便會把目光投注在「那些種族」上,而又忘記了那些主流市民也是「種族」。主流市民忘記了種族性,往往會變成一種沉默的霸權,然後驅動「我們都有相同的價值觀、歷史和文化遺產」的信念。慢慢地,這一種無形的霸權導致那些少數的人被定形為所謂的少數人,就此而已,沒有其他意義。這樣一來,少數的人不是成為與大家不同的外來者,便是在我們的社區中成為被人遺忘的一部分。我認為Chinese Desi Style試圖不讓我們忘記這些事實,並反過來滋生出一種無形的力量,公平地顯示了不同種族在現實中的相似和差異。

正如上文提到的,「文化權力」和「真實性」的表達不僅是一種捕捉當下的新方法,它們還迫使我們有一種超越的視野。我相信這種對展望將來的期盼,解釋了為什麼All About Us多年來有那麼多的作品都是充滿幻想性的作品。這些充滿幻想性的作品涉及犯罪頭目、殺手和鬥爭者,如 Killer x Translator (2011)、Killer x 2 (2012)、The Dark Dream (2012) 和Once Upon a Time in SSP (2013)。另外,亦有恐怖影片和帶有喜劇形式的恐怖影片,它們呈現了超自然和神秘,如U’r Going to Hell (2011)、The Doll (2012) 和Reflection (2012)。此外,Jellyfishman (2013) 更展示了一套超級英雄劇。事實上,幻想在青少年中是普遍的事,從影片製作者的想像力中,這種普遍性也被展示了。但在另一個層面上,我們可以從相反角度閱讀這些影片,更準確地說,這些影片表達他們對超越平凡、普通,以及日常生活平庸的渴望。

在我看過的所有All About Us的影片中,最直接地表達這種強烈渴望去打破青少年單調的生活的作品是Don’t Just Dream, Do!(2013)。這部影片是真誠、真實、發人深省的戲劇,它講述了兩兄弟和他們的夢想:兩兄弟中有一個希望成為一名歌手,而另一個就渴望成為跑酷 (Parkour)的街頭運動藝人。就像Raymond Williams寫的關於現實中普羅意識到自己有選擇生活方式的權力(並不是被貴族階級加以界定和限制的),Don’t Just Dream, Do!主角的生活通過他們的自豪而找到權力,並就此讓少數族裔的生活,成為可以向世界展示的真實。

 

生活不存灰色調子

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【文:馮美華,香港藝術發展局評審員和電影顧問;曾任香港兆基創意書院的創意教育總監、校長、副校監和書院顧問。】

 

從觀看這些由少數族裔青少年拍攝的短片,我們可窺見他們的興趣和關注事情,而有趣的觀察是他們和中國籍的青少年的分別。

和英雄主義

Once Upon A Time (2013)有濃厚香港黑社會打鬥片的影子。大阿哥老虎仔訓練了兩個少年打手,然後因其中一個不願聽從老虎仔的命令去偷東西,而老虎仔叫另外一個把他打死了。這故事是發生在深水埗。整套影片就是在不同的打鬥場面中渡過。在過程中我們看到深水埗不同的面貌,我們看到打鬥形式的多樣化,我們看到這些少數族裔青少年們生活的側影。其中特別的一點是他們沒有清晰的道德批判,道義不在他們的強調中。老虎仔是一個「大奸大惡」,但最終他仍還是沒給捉拿,能逍遙法外,而老虎仔的外型,如他的白色畢挺西裝和他的有型有款的動作和言談,也給了這些青少年英雄本色的一些另類定義。

Jellyfishman (2013),這短片則從另一角度製造英雄本色。久保田是一個日本少年,在校被欺凌,他原本是一個溫文爾雅和喜歡音樂的少年,卻要習武起來。這短片花了很多片段來描繪久保田的習武過程,有點RAMBO的影子,亦有BATMAN或SUPERMAN的影子,因久保田帶了面具去行俠仗義。這短片明顯地有道德取向,那就是以暴制暴,而自強是要旨。

浪漫情懷

Troubled Love (2013)裡的 Camille 坦白告訴LT她愛他,而LT也坦白告訴他不愛她,另愛Christine。他們這代的浪漫程式就是速戰速決,沒有經典式的細水長流愛情故事,愛情中的嫉妒也是快速地以暴力解決,沒有什麼心理性的描述。

另一種的青少年浪漫也在這輯短片中的Don’t Just Dream, Do! (2013) 被看見。兩個尼泊爾少年的幻想  ─  George想做歌手而Bob想做Parkour [1],兩人各自發夢。當夢醒時,他們知曉成功必需努力,不能只是空想和無意義地過日子。

至於Gender and Football (2013) 這種有女性主義味道的浪漫情懷是頗特別。幾個印巴女孩子不讓男同學們叫她們回家做家務,不理父母的反對,努力練習踢足球,而終於贏倒了男孩子們。而有趣的一點是她們把自己裝扮成男孩子上場,究竟是她們想強化女性角色,或是她們要做「男孩」?當字幕把大大的GIRLS的分數呈現時,這些女孩子就只是想告訴我們:我們也可以如男孩子般踢足球。電影容許她們的浪漫實現,希望在真實生活,她們也可做很多男孩子的事情。

創意幻想

Triphobia (2013)是具特別內容的短片。它呈現一個神奇老人如何風趣地幫三個少年克服了他們的恐懼症。而在有創意之餘,這短片的製作少年也呈現了他的幽默感,最終那老人也給恐懼症難到!

整體結論

這2013-2014專輯反映了這些少數族裔青少年並不和別的青少年有多大分別,他們所遇到的問題也是多數青少年所遇到的一樣,充滿幻想,而欣喜的要點是他們整體上是對生活不存灰色調子,雖是浪漫或不切實,他們的創作調子是充滿動力、積極意識和幽默。當然手法仍是傳統,但這只是他們的開始階段,而他們用影像和聲音、動作和情感來說他們自己的故事,也著實說得上清晰和動人。最重要的是,他們的自信透過創作過程和呈現而能融入他們在香港的生活,使他們能如其他青少年一樣在這城建立他們的文化和身份。

 

[1] Parkour常被歸類為一種極限運動。它並沒有既定規則,做這項運動的人只是將各種日常設施當作障礙物或輔助,在其間迅速跑跳穿行。

英雄‧創意‧鬼故事

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【文:馮美華,香港藝術發展局評審員和電影顧問;曾任香港兆基創意書院的創意教育總監、校長、副校監和書院顧問。】

 

這年度的短片看到少數族裔青少年和一些華裔青少年的合作,這合作為他們的生活帶來了共融和創意衝擊。而有趣的觀察是這些青少年所呈現的影像內容沒有特別的族裔分別,題材多是一些普通香港人皆常感興趣的動作片、鬼片。當然,隨這些流行片種外,這些青少年也講到學校的故事。若然說到文化影響,當然生活在香港的少數族裔青少年必然是受到香港的類型片所影響。而有些特別的就是這些青少年沒有以他們的家庭和社區來作為他們的創作或表達的題材。提綱挈領地,今次這六部短片可大致分為三個不同的範疇。

其一是動作槍戰

Killer X2 (2012) 是關於復仇,最終中國青年陳大文用槍殺了在一年前曾槍傷他的印巴青年。在過程中也還有一些打鬥場面。這短片最特別的地方是導演用了Bollywood 的快速節奏音樂來為電影製造緊張氣氛,為短片帶來印度流行音樂文化元素。

The Dark Dream (2012) 則是警匪動作槍戰片。這短片的特色是男主角常用槍來處置犯罪的人。影片繞過了法律角度來讓槍桿子來停止罪惡,而警察執法的主要工具是槍和功夫。為什麼這印巴籍的青年會如斯相信執法者用槍的絕對權威性? 槍看來成了這一代青少年人的英雄主義投射。

其二是學校生活

The Day After Today Is Another Day (2012) 描述校園生活褢幽默的一小篇。少年Gandhi每天都有新主意,使和他合作的同學吃不消,而團隊功課故此永遠沒完沒了。導演倒能把幽默感拍出來。

Santiago Clause (2012) 這小故事則講述男生Santiago因為女同學Julia 的影響,而不再欺凌同學,並將自己變成聖誕老人送禮物給同學和制止欺凌發生。這短片富教育意味但不說教,充滿正能量和純真情懷。

其三是鬼故事

The Doll (2012)較為簡單,年青創作人只是想嘗試拍出一點點的驚嚇,而效果是達到的。短片褢的重複對白「不要留下我孤獨一個」讓人有點兒毛骨悚然。

The Reflection (2012) 在舖排上則來得複雜得多,創作人在情節的推進和畫面上的氣氛營造下了很多功夫。而在攝製、剪接和音效方面也很用心,在這眾多的短片中,它是較突出和成熟的作品。

期望

這些少數族裔青少年看來是喜歡英雄主義式的動作電影,亦受鬼片的影響。學校生活也有談及,全是他們外圍生活的呈現。從這角度看,他們是和其他青少年沒分別。但若然他們能嘗試呈現多點他們自己的文化,如Killer X2 (2012)用了Bollywood 式的音樂,那麼除了共融外,也可感受到他們的獨特文化身份。