第五電影 Fifth Cinema(2018)

阮純詩 Nguyễn Trinh Thi

*The text adapted from CELEBRATING FOURTH CINEMA By Barry Barclay

*文本改編自Barry Barclay〈慶祝第四電影〉
*Translation by LIN Wen-chun
*林玟君翻譯

I am a filmmaker, as you know. I have both a western and a Maori tribal background. 

如你們所知，我是個做電影的。我同時有西⽅的和⽑利部落的背景。

I am, then ― by birth, at least ― a person of two allegiances: one to the modern nation state; and one to the
tribal world.
以及我——就出⽣⽽⾔——有著兩種身為⽽⼈的義務：⼀種是現代國家︔⼀種是部落世界。

The Indigenous world.

原民的世界。

I am going to propose here this afternoon that there is a category which can legitimately be
called "Fourth Cinema”, by which I mean Indigenous Cinema ― that’s Indigenous with a capital "I".
我將要在這裡個下午宣⽰⼀個合法的類別叫做「第四電影」，意思也就是有著⼤寫的「我」的原民
電影。

I made up the phrase "Fourth Cinema" for my own satisfaction.

我編造「第四電影」這個措詞是為了⾃我滿⾜。

But, outside my own head, there may be no such thing as Fourth Cinema. The phrase Fourth Cinema comes
as a late addition to the First-Second-Third Cinema framework with which you will be familiar.
但是，外於我的腦袋，可能沒有什麼東西叫做第四電影。這個第四電影的宣⽰加註如同第⼀、第
⼆、第三電影的框架，稍後你們就會了解。

First Cinema being American cinema; the Second Cinema Art House cinema; and Third Cinema the
cinema of the so-called Third World.
第⼀電影正是美國電影︔第⼆電影是藝術電影︔第三電影也就是被稱作第三世界的電影。

There's a temptation to analyze Fourth Cinema ― to seek to legitimize and valorize it, to make a case for
or against its very existence ― by looking at the "accidents" rather than "interiority". By “accidents” I mean
the "exteriority", the surface features: the rituals, the language, the posturing, the décor, the use of elders, the
presence of children, the rituals of a spirit world. Attitudes to land.
這裡有個誘因去分析第四電影——尋找並且讓它合法化與價值化，去提出理由或是去反對它的存
在。要去觀看「意外」⽽不是「內在性」。「意外」的意思是說「外在性」，它的表⾯特徵是：儀
式、語⾔、儀態、長者的作⽤、孩童的降臨、⼀個精神世界的儀式。對待⼟地的態度。

But I believe that in FourthCinema ― at its best ― something else is being asserted which is not easy to
access. I'll take up some points on this a little later.
但我相信第四電影——在它最巧妙的——有些已經被斷⾔的事物並不容易進入。稍後我會在這⽅⾯
提出⼀些觀點。
We live in an age which is ― for very good reasons ― skeptical of talk of "essence"; of defining once and
for all what is "of the essence" of something. Part and parcel of this mood is that we are less concerned, I
think, with pursuing that elusive “interiority.”
我們⽣活在⼀種時代——有很充分的理由——對⼀勞永逸地定義什麼是某物的「本質」的「本質」
抱持懷疑態度。 我認為，這種情緒的⼀部分是我們不太關⼼追求難以捉摸的「內在性」。

Rather we fix on the minutiae of exteriority. We are content to play with readings of texts.
相反地，我們關注外在性的細微末節。我們只要按照教科書玩遊戲就夠了。

Let me illustrate with a little tale. The one and only time I was in Athens. I visited a museum in which were
displayed soldier graveyard headstones from a period of high civilization flourishing some centuries before
the birth of Christ. The headstones were lined up in chronological order to show developments over a period,
of a couple of centuries.
讓我⽤⼀個⼩故事來說明。有⼀次也是唯⼀⼀次在雅典，我參觀了⼀個博物館，裡⾯陳列著基督誕
⽣前幾個世紀⾼度⽂明時期的⼠兵墓地墓碑。墓碑按照年代學的邏輯排列以便展⽰幾個世紀以來的
發展。

Each had on it a bas-relief depiction of the fallen soldier in fighting apparel. At the beginning on the period,
the dead soldier is striding forward, hero fashion.
每個穿著戰⾾服的陣亡⼠兵淺浮雕都有著描述。在這個時期的開端，死亡的⼠兵⼤步向前，英雄時
尚。

The curator notes explain that the soldier is marching without fear into the afterlife. Some way through the
period, a second figure begins to appear, a young man, looking sadly after the departing soldier. The notes
say the youngster is the soldier’s personal servant, a trainee soldier himself. Further through the period, a
series of poignant changes in the sculptures can be seen. The young mans hand begins to lift, to reach out for
the disappearing figure.
策展⼈指出這些⼠兵不帶畏懼地⾏軍前往來世。經過幾個時期，第⼆個形象開始出現，⼀個年輕
⼈，悲傷的看著⼠兵的離去。註解提到這些年輕的⼈們是⼠兵的個⼈隨從也是⼠兵練習⽣。再往前
的時期，可以看到雕塑中⼀系列⾟酸的變化。年輕的男⼈們的⼿升起試圖抓住消失的身影。

Finally, the head of the man turns back, the fingers touch and there is one final departing look between the
two, before, presumably, the dead soldier turns to disappear into that which is except perhaps through faith.
unknown.
最後，男⼈轉頭，⼿指相碰，離別之前兩⼈最後相望，出於必然，死去的⼠兵逐漸像是沒入信仰⼀
般消融了。未知。

The curator notes explained that the series coincided with a passage in Greek history during which
the populace moved from a confident religious vision of what is right for man in this life
and what awaits him beyond it, to a humanistic vision, in which feelings of loss and fear and uncertainty are
allowed.
策展⼈指出，這個系列恰好呼應⼀段希臘歷史，在這期間民眾從⼀個⼈⾃信於此⽣有應該做的事，
並且有什麼事正在等待著他、召喚他，轉為⼀種⼈為主義的願景，在這遠景中允許失落感、恐懼感
和不確定感。

Imagine coming across a basement of such headstones with everything all over the place.
想像⼀下，穿過滿是這種墓碑內容的地窖。

We wouldn't know which order both a chronological order and a dramatic one to put the headstones in.
我們不會知道是哪⼀種或是都有使⽤年代邏輯或戲劇性去編組墓碑。
We might start with a headstone with the hero looking back, and end with him striding forward. But what the
heck? For you can do with text what you like, can you not? You can make a personal story out of the parts of
anything.
我們可以從英雄回望的墓碑開始到他向前邁進結束。但是這有什麼好玩的︖其實你可以按照喜好去
理解內容，難道不是嗎︖你可以從全局的任何部分來訂製個⼈故事。

I want to read you a poem I wrote.

我想讀給你⼀⾸我寫的詩。

A good friend of mine died suddenly. She was in her mid-fifties. Nobody was expecting her to have a heart
seizure followed by a serious of strokes and suddenly be dead.
我的⼀個好朋友突然去世。那時她五⼗幾歲。沒有⼈料到她會因為嚴重的⼼肌梗塞就突然⾛了。

It happened right at the time Ruapehu was erupting down on the volcanic plateau. Night after night we saw
on television images of the eruption and the hazard of the falling ash.
這件事就發⽣在魯阿佩胡⽕山噴發的時候。我們⽇以繼夜看著噴發和灰燼落下的電視影像。

My friend's name was Amy Brown. She was a self-taught expert on cultivating earthworms, and she and I
were working on a technical innovation together (how to get earthworms into your garden, of all things ―
it's not as easy as you might think.)
我的朋友她叫做 Amy Brown。她是⼀位⾃學成才的蚯蚓養殖專家，她曾經和我⼀同共事開發新技術
（如何在你的花園養殖蚯蚓，這些事情不像你想的那樣簡單）。

I wrote it a few hours after hearing of the death. The poem is headed up simply: In.
聽到她離世之後我花了幾個⼩時寫下這⾸詩。這⾸詩的開頭相當簡單：裡⼦。

The volcano puts up its ash.

⽕山隆發煙塵碎屑

Winds beyond our touch blow the grit shadow over crouched towns.

我們無法接近的風沙塵影吹動蜷縮的城鎮

Brush down the roof, disconnect the water tanks, flush out the guttering; stay indoors,
daughter, toddler, and wife.
沖刷下屋頂，斷開⽔箱，沖注排⽔溝︔ 待在室內，女兒、蹣跚學步的孩⼦和妻⼦

Through toxic mist, lights in halo snoop along the curbs.

沿著路邊光暈穿過毒瘴

Those who must out have faces masked like displaced surgeons.
那些必須出去的⼈像流離失所的外科醫⽣⼀樣戴著⾯具

Poisoned in stomach, animals stop eating as the ash falls.

腹中毒化，動物停⽌進食宛若灰燼飄零

I was told off by a couple of friends because the poem is so bleak.

我被幾個朋友斥責，因為這⾸詩太淒涼了。

We try not to have 'bleak' around death in our national culture. 

在我們的民族⽂化中，我們盡可能不要對死亡感到「黯淡」。
We have sorrow, of course, but, officially, it's managed sorry.
我們當然悲憾，但這是基於抱歉。

As good citizens of the modern nation-state we have a national approach to gravestones. We don't think of
this as any kind of spiritual orthodoxy. Almost universally, I suggest, our dead, in memorial stones as being
"at peace”.
作為現代民族國家的好公民，我們對墓碑有⼀種民族上的認識。我們對它的認識不像任何正統的精
神觀念。幾乎是普世性的，我建議，我們紀念碑裡的死著們就如同活於「和平」的存在⼀樣。

That their life, from this date to this date, long or short, was a contribution in some way, that they were
loved, perhaps by their parents, perhaps by a sorrowing spouse, perhaps by their surviving children, perhaps
by the whole nation.
那他們的⽣命，從這天到那天，或長或短，某種程度來說是⼀種貢獻，他們是被愛著的，或許是他
們的親屬，也許是⼀個悲傷的配偶，也許是他們的遺孤，也許是整個民族。

So to put up on a gravestone lines such as, "poisoned in stomach, animals stop eating as the ash falls", would
be an obscenity, would be heresy. Imagine, in this country, having on a headstone some goddess of death, a
hideous figure, her mouth pulled back open and filled with snakes. Such a vision is beyond our regular
knowing.
所以在墓碑刻下像是「腹中毒化，動物停⽌進食宛若灰燼飄零」的⽂字，將是⼀種褻瀆，將是異
端。 想像⼀下，在這個國家，墓碑上有⼀個死亡女神，⼀個醜陋的形象，她的嘴向後張開⽽且嘴裡
塞滿了蛇。這樣的願景超出了我們⼀般地常識。

I may seem to have strayed completely off the topic of Fourth Cinema, of Indigenous Cinema. But perhaps
we are close to the very heart of the subject. Indigenous cultures are outside the national orthodoxy. They are
outside the national outlook.
我看似完全偏離了第四電影還有原民電影的話題。但也許我們已經非常接近議題的核⼼了。原民⽂
化在民族正統之外。他們處於國家視野的外邊。

They are outside spiritually, for sure. And almost everywhere on the planet, Indigenous Peoples, some 300
million in total, according to the statisticians ― are outside materially also.
他們肯定是處於外邊精神的。 根據統計學家的數據，地球上幾乎所有地⽅的原住民，總計約 3 億
⼈，在物質上也處於外邊狀態。

They are outside the national outlook by definition, for Indigenous cultures are ancient remnant
cultures persisting within the modern nation state.
他們依據定義處在國家視野的外邊，對現代民族國家來說原民⽂化是古代⽂化的殘存。

Almost every square meter of the land mass of the planet and much of the oceans as well is under the
governance of one modern nation-state or other, 193 of them in total, I learned from the TV recently.
我最近看電視學到，這個星球無論是海洋和⼤陸，幾乎每平⽅公尺都受到民族國家或是其它國家體
制的掌控，總共有193個。

Their national outlook is modern. First, Second and Third cinema are all Cinemas of the modern Nation
State. From the Indigenous place of standing, these are all invader Cinemas. I have been to a number of
conferences in Hawaii. Last time I was there.
他們的民族外貌是現代的。第⼀、第⼆和第三電影全是現代民族國家的影城。從原民站⽴的地⽅，
全部都是侵略者的影城。我去過數個在夏威夷的研討會。上次我就在那裡。
I was put up in huge tourist hotel. At sunset, there were tropical palms below my window, a grand pool, and
a band. The singer sang Cheryl Moana Marie. If this is kitsch, I thought, I love it.
我曾被安排到⼀個⼤型觀光飯店。⽇落的時候從窗⼾往外看下去有棕梠樹叢、⼀個⼤泳池和⼀組樂
隊。歌⼿唱著〈謝麗爾・莫阿納瑪麗〉1。如果這就叫做媚俗，我想，我就愛這樣。

At every Hawai'i conference I've been too, somebody refers to one or other version of The Mutiny on the
Bounty, and perhaps screens a scene or two from it.
在夏威夷每個我去過的每個研討會都是這樣，會有個⼈提起⼀個或其他版本的《邦蒂號叛變事
件》，並且可能會放映幾個裡⾯的場景。

I want to run for you the scene I saw on my last trip played in front of a largely Indigenous audience, many
of them women. If any of the women present here today take offense, I apologize in advance.
我想跟你們說我上次旅⾏時在⼤部分原民觀眾⾯前看到的場景，該場景在主要是原民觀眾（其中許
多是女性）⾯前播放。 如果在場任何女性被冒犯的話我先道歉。

CaptainBligh (Trevor Howard) orders Fletcher Christian (Marlon Brando) to go ashore and have sex with a
native woman of rank.
布萊船長（特雷弗・霍華德）命令弗萊徹・克⾥斯蒂安（⾺龍・⽩蘭度）上岸並與當地⼀位有地位
的婦女發⽣性關係。

Within the context of First Cinema, this is a very rich scene ― imperial power, the white male hunk, the
navy uniform, and sex in the tropics.
在第⼀電影的背景下，這是⼀個非常豐富的場景——帝國權⼒、⽩⼈男性帥哥、海軍制服和熱帶性
愛。

But I've seen men like that, I have to say, in the red light districts of cities like Bangkok, moving through,
going "that one, that one."
不得不說，我的確在像是曼⾕這種城市的紅燈區⾒過這樣的⼈，⿂貫掃街：「這⼀個、那⼀個。」

The Bounty scene is from the camera of the ship's deck. The camera is owned and controlled by the people
who own the ship. It takes pictures of those who sail the ship. What happens when the camera is shifted from
the deck onto the shore? (repeat)
《叛逆巡航》的場景來⾃船甲板的攝影機。擁有船的⼈即是可以控制攝影機的⼈。他拍下那些開船
的⼈，當鏡頭從甲板上移到岸上時會發⽣什麼事︖

The ship office, ashore (on the rare occasions he comes ashore and mingles with the natives) will say it
makes no difference. "We make films just the same as the natives would, were they given the chance.”
船務（他極少會到岸上和當地⼈打成⼀⽚）會說這和到岸上沒有分別。「如果有機會，我們會去拍
像本地⼈⼀樣的電影。」

The ship office will always film from within the national orthodoxy from whence he came. The ship camera
will always show the ship officer coming to find the native princess. Or something similar.
船務將永遠從他的國家正統內部的角度進⾏攝像。這船的攝影機將會永遠顯⽰船務前來尋找當地的
公主。甚或其它類似的事物。

December 16, 2000

2000年12⽉16⽇

1 In 1969, when John was still only 21, he accepted an invitation to represent New Zealand in the Rio De Janiero song festival. John
wrote a song for this special occasion, "Cheryl Moana Marie" inspired by his younger sister with the same name.
A meeting of tribal people is held in the village of Kasipur. In Orissa State east India to talk about, how to
protest the opening of a bauxite mine in the area. Armed police appear and open fire. The people who are
killed are Abhilas Jhodia.
叫做 Kasipur 的村莊舉⾏了⼀次部落⼈民會議。談到印度東部的奧⾥薩邦，如何抗議該地區開發鋁⼟
礦。武裝警察出現並開⽕。被殺的⼈是 Abhilas Jhodia。

December 16, 2000; a meeting of tribal people is held in the village of Kashipur in Orissa State, east India, to

talk about how to protest the opening of a bauxite mine in the area; armed police appear and open fire.
2000年12⽉16⽇︔在印度東部奧⾥薩邦的 Kashipur 村舉⾏了⼀次部落會議，討論如何抗議在該地區
開墾鋁⼟礦︔ 武裝警察出現並開⽕。

The people who are killed are Abhilas Jhodia (25 years of age), Raghu Jodhis (18) and Jamudhar Jhodia

(43); eight others are seriously injured.
遇難者是 Abhilas Jhodia（25 歲）、Raghu Jodhis（18 歲）和 Jamudhar Jhodia（43 歲）︔其他八⼈受
重傷。

The tribal people of Orissa State in India who died in protest were members of an Indigenous people which
comes from a far time and is now surrounded by the modern nation state of India.
在印度奧⾥薩邦喪⽣的部落⼈民抗爭成員之中有來⾃遙遠時代的原民，他們正是被現代印度國家包
圍的族群。

For the Indigenous people of Orissa State, the cinema camera is out in the surrounding populations,
the camera of the First, Second and Third cinemas.
對於奧⾥薩邦的原民來說，電影攝影機從周圍的⼈⼜顯現出來，即第⼀、第⼆和第三電影的攝影
機。

The Camera Ashore, the Fourth Cinema Camera, is the one held by the people for whom "ashore" is their
ancestral home."Ashore" for them is not an island. 
攝影機的堤岸，第四電影攝影機的持有者是以沿岸為祖籍地的⼈們。沿岸不是他們的島嶼。

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