一个流失原创精神的电影节

－纪录片工会针对台北电影节百万首奖的声明

台北电影节已经迈入第十一年，除了持续引进国际影片外，最重要的任务莫过于「台北电影奖」的举办。

 对 国内影像创作者而言，「台北电影奖」的实质鼓励不仅在于它的奖金，更重要的是它接受各种作品类型（剧情、纪录、实验、动画），不论材质（电影底片、数 位），也不计片长，只要是好作品，都有机会获得肯定。这不但令「台北电影奖」成为国内所有影像工作者（而非只有影片工作者）的年度盛事，也是国际影坛完整 认识台湾影像创作的捷径。

 尤 其是「台北电影奖」在各类最佳影片之上设置的不分类「百万首奖」，过去一直坚守著包容、开放的精神，由评审团审视各届作品水平，决定颁予的对象。而事实也 证明，除了传统电影奖鼓励的剧情长片外，过去十年得到「百万首奖」的作品，种类遍及纪录片（「在山上下不来」、「再会吧！1999」、「无米乐」）、实验片（「星尘15749001」）、动画片（「女子」、「出口」）、甚至剧情短片（「两个夏天」），既证明了台湾影像创作的多元与成果丰硕，也树立了台北电影节（奖）独立、自由又兼容并蓄的独特面貌，进而影响了其它电影奖的走向。

 然而，从去年（2008） 开始，「台北电影节」在没有任何说明的情况下，就贸然取消了剧情长片以外其它类型作品争取首奖的机会，也把过去公平争技的特别奖，草率划分为专属于剧情长 片的个人技术奖，致使这个竞赛原初的创办精神荡然无存。无论作为影像工作者或是文化公民，我们都有充分理由担心主其事者好大喜功的作风，不但严重侵蚀台北 电影节（奖）最难得的特质──无分轩轾地肯定各领域的影像创作价值，也粗暴地剥夺了台湾影像工作者平等竞争的机会。

 事实上，以现今台湾影像创作环境而言，主流(剧情或动画)长 片早有金马奖加持，学生影片与青壮创作者则有金穗奖鼓励，但坚持独立制作，或长期走非主流短片创作路线的影人，始终没有获得应有的鼓励平台与相对的尊重。 所以，台北电影节百万首奖的开倒车举动，绝非只是非剧情片工作者能分配多少奖金的问题，而凸显出一个原本口碑不错的影展，竟为了向主流靠拢，不惜扼杀自身 特色的悲哀。

 这 项草率的决定，去年就曾引发争议与检讨之声，但主办单位却无动于衷。纪录片工会今年再度提出这项质疑，除了为本地影像创作者发声以外，也担忧这个原已走出 不同于金马影展的风格，而得以并驾齐驱的台北电影节活动，正在迅速丧失它的原创精神。长此以往，它流失的将不仅是早已明显下滑的观众人数，还包括本地影像 工作者对它的敬意，以及它在国际影坛上原被关注的活力所在。

 基 于上述理由，我们诚心呼吁台北电影节自下届起恢复原来的奖项设计，并推动相关改革，提升影展质量。若有无法变革的原因，请尽速公开透明的对外界提出足以服 众的说明，不要让一个原本清新自由的影像节庆，逐步演变成一个封闭专断的样板活动，那将是所有影像工作者与文化公民所不乐见的遗憾结果。

 台北市纪录片从业人员职业工会

我要连署支持！网络连署平台：http://campaign.tw-npo.org/campaign//////sign.php?id=2009062900550900

目前连署人/单位
纪录片工会全体干部：杨力州、黄信尧、蔡崇隆、贺照缇、吴耀东、闻天祥、李亚梅、柯金源、林育贤、林秀华、朱诗倩

历届得奖者：陈俊志、周美玲、刘芸后、郑文堂、李家骅、吴汰紝、陈龙男、颜兰权、庄益增、陈博文、苏文圣、黄淑梅、郭笑芸、王嬿妮、林靖杰、魏德圣、黄嘉俊、张荣吉

第11届（本届）入围者：陈志和、傅天余、赖俊羽、郭乐兴、韩忠翰、王振宇

历届评审：石昌杰、陈文玲

影像工作者：朱 贤哲、吴星萤、李中旺、李幼新、李定陆、李惠仁、林文卿、林木材、林其妏、林建享、林泰州、林融骏、翁英修、马跃·比吼、许富美、陈坤厚、陈玫臻、陈若 菲、陈素香、陈丽贵、曾文珍、黄庭辅、黄琇怡、黄祯、虞戡平、蔡静茹、郑小塔、赖孟秀、鸿鸿、简莉颍、魏逸莹、江依纹、黄惠侦

团体：中华民国纪录片发展协会、社团法人台湾女性影像学会、台湾南方影像学会

A film festival that has lost its originality

─An announcement to the Taipei Film Festival from the Documentary Media Workers’ Union

        The Taipei Film Festival is embarking into its 11^th year.  The optimal goal has a broader perspective than just inviting foreign films, but most importantly the hosting of the “Taipei Award”.

 For local filmmakers, perks from “Taipei Award” are not limited to just the prizes.  A variety of different genres (drama, documentary, experimental, animation), format (film, digital), and film lengths are welcomed.  Every good film is entitled to a golden opportunity.  Therefore, the “Taipei Award” became the annual grand event for all local filmmakers, and a channel for the international film industry to have a comprehensive look at the Taiwanese image creation.

 The “Grand Award,” the highest prize given of the “Taipei Award,” was designed for juries to decide on the prize winner solely based on the film quality without restricting the genre, format or length.  The award goes to a wide selection of films other than the traditional narrative features.  In the past decade, the winners are comprised of different categories such as documentaries《two guys go hunting》, 《Farewell 1999》, 《The Last Rice Farmer》), experimental films (《Stardust 15749001》), animations (《Women》, 《Exit》), and even drama shorts (《Summers》).  It is a proof of diversification and fruitfulness of Taiwan image creations.  Moreover, it establishes the uniqueness and liberty of the Taipei Film Festival, and influenced the directions of other film awards.

 However, starting last year (2008), without any notice, the Taipei Film Festival hastily canceled the entitlement of films other than feature films to compete for the “Grand Award”.  Furthermore, it carelessly categorized the “Special Awards,” which dedicated to filmmakers’ personal achievements on films, now only dedicated to narrative feature filmmakers.  These decisions have completely eradicated the originality of the competition.  We, as the culture citizens and filmmakers, have the right to question the intention of the person in charge, if he/she is just fishing for fame and compliments and overlooking the real content and originality of the festival, which is a fair chance for all Taiwanese filmmakers to compete.  The Taipei Film Festival no longer recognizes films from different genres other than narrative features.

This rash decision had created controversy and criticism last year; however, the organizer remains silence.  The Documentary Union decided to speak out this year, not only for local filmmakers, but also to express our concerns regarding the festival, which had difficulties in distinguishing itself from the Taipei Golden Horse Film Festival and losing its originality.  If this persists, the festival will not only lose even more of the already declining audience, but also the respect from local filmmakers and the vigor that once attracted the international film industry. 

 Based on the reasons mentioned above, we sincerely plead Taipei Film Festival to redeem the awards and promote reformation to improve the overall quality of the film festival.  If there should be any reason that the reformation could not be completed, please immediately offer an explanation to the public.  We will never allow the film festival gradually become an event no longer belongs to public.  This is the sincere pledge from all filmmakers and culture citizens.