A Wave of Independent Candidates Up for Local People’s Congress Representative Seats. Question: What Does it Mean?

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This must have been the most interesting week in this country’s public political sphere yet. Before getting into what happened or what would happen, we have to realize on what scale of events we are engaging ourselves in. This is not, by any stretch of means, the first time there are independent candidates up for district congress representative elections. First of all, let’s go over how it works. In the municipality of Shanghai, each district has a people’s congress, which consists of hundreds of reps voted in by each neighborhood. The election is organized by community committees. Currently in Xuhui District of Shanghai, for example, there are 292 such representatives.

How do they get elected? Normally, key institutions in a certain neighborhood (universities, national corporations, government offices etc.) would be asked to nominate someone to the community committee, who will then select 4-6 people as the final nominees. These names will turn out on a ballot distributed to individual citizens and organizations. After that, actual voting occurs in a certain set date across the neighborhood. Public employees mostly vote at workplace. Retirees and private sector employees would have to go vote at locations set up by their community committee.

This is, indeed, the only process in which a Chinese citizen can exercise their voting rights, every five year. From there on it’s a representational process, as your rep would go on voting for a higher level representative, not you. Needless to say, most people don’t go vote, or don’t even know it’s taking place unless their employer organizes them to. The nominees are in names only and have no real platform for political expressions. All of these are known knowledge. Regardless of its obvious symbolical posturing, it is a process, a lawful process. The Chinese election law also specified that nominees have to be “checked out” by certain people, while not specifying who those people are.

There is a different channel to get elected, as an un-nominated independent candidate. What’s interesting is that, technically, you can be that candidate by just writing your own name on your ballot. Again, technically, if you have enough friends in your neighborhood, all of which writing your name on the ballot, you can be elected as a rep. This is the same as a so-called “write-in campaign”, as Alaska’s senator Lisa Murkowski won last year. Of course, the possibility of that is quite slim. To actually get your name on the ballot is a bit more difficult. You would have to gather signatures recommending you and get it approved by the community committee, a part of the Party/State system, which, in our experience, consists of the most conservative group of people. Here comes the problem. Liu Ping, the poster-woman for this “independent candidate” wave went into dispute with her local government trying to get her signatures approved. As these things go these days, she was briefly detained.

But we don’t want to talk about the supposed political danger of trying to be an independent candidate, as some high profile candidates are trying to make the story to be. The narrative is dishonest. Independent candidates have long existed in this process. Liu Ping wasn’t the model. More than a few people have succeeded in winning the election as an independent candidate in the past. It is, of course, a complicated matter. It’s not easy and has obstacles of great proportion to overcome, but who has ever said getting yourself elected to anything is easy?

But in our mind, this new streak of independent candidates are really interesting. In our opinion, none of these candidates has the slightest chance to get elected in the process, but this is a rare, rare opportunity of a face-off, between the internet reform wing’s ideals (if they have anything clear in mind) and the wider community — the constituents, the real, ordinary citizens, a much more diverse and complicated group of people than those on Microblog. Nominated candidates do not have to reach out to the community, which is the most problematic of all in this process, but independent ones do. If they really want this, they would have to convince enough people in their district, not on the Internet that they are in this for real. They would have to make their names known to 60-year-old community organizers who don’t share much in value with them. The most important of all, we hope they will figure out what they want, state their political ideas, put them out there for people to discuss.  The opportunity, in our opinion is the most precious we’ve seen in recent years, and it shouldn’t be wasted on stating over and over again that they have the right to be in the game, because they are hardly the first.

This isn’t about any independent candidate winning, because none of them probably will. Frankly current reps are more politically qualified than most of them, and if you really want to know, a district rep really doesn’t do much. They hold a 4-6 days meeting every year. But all of these are just sideshows. The real showtime is for ideas to be said, for ideals to be cleared up, for some solid foundations to be built, for organized political campaign to be experimented with. It’s important. It’s also an opportunity to at least show there is a public will to slow down the ongoing trend of Party/Citizen dualism.

It’s going to be a good show, if the players are committed and know what they are doing. Politics is where ambitions are. the only thing making it more complicated (and fun) than what it really is. We truly respect them to try. This pseudo news outlet will be closely monitoring the situation from now on.

Shanghai’s Three Downtown Districts to Merge Within the Year. Good Deal? Bad Dealing?

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Rumor on the streets is that Shanghai’s three major urban districts — Huangpu, Luwan and Jing’an are going to merge into a new, central Puxi district which spans throughout the city’s most affluent areas and covers almost all of Puxi’s top real estate spots, business/shopping centers and historic streets. The merge between Huangpu and Luwan is said to be a done deal, as the Luwan district government is already in a shutdown mode, transferring all affairs to Huangpu. A month ago, Jing’an was said to be a question mark to join, the catastrophic 1115 fire being the main obstacle, as the other two districts were said to be unwilling to deal with the financial and political mess the fire brought to the district. Newly circulated rumor, however, proved otherwise, that the district is going to join the big merge within the 2011 fiscal year anyway.

The idea of the yet unnamed new Central Puxi district has been attacked by natives, for mostly sentimental reasons. The three districts, though geographically much smaller compared to the massive Pudong New District and residential districts like Minhang and Yangpu, are Shanghai’s golden districts, where the city’s collective memories are rooted at. Throughout Shanghai’s developing years, the three districts also varied vastly in their visions of development. Competition made them do so. Huangpu, where Shanghai’s oldest areas are, aimed to preserve the “old town” atmosphere with a modern touch. The district, which covers the Yu Garden, The Bund, East Nanjing pedestrian street and People Square is Shanghai’s old-time signature, yet the district also inherited some of the oldest “historical” buildings, most of which in unfavorable conditions. In 2000, Huangpu absorbed the neighboring Nanshi District — the oldest and poorest in central Puxi, as the only central area of Shanghai that was never colonized (the Chenghuang Temple and Yu Garden being the center of Nanshi). Even after 2000, Huangpu remains the least populated district in Shanghai, as old town residents continue to relocate or be relocated outward.

Luwan District is home to the city’s new establishments. This historical district went through the most radical transformation and was turned into the signature of today’s bourgeois class, with Xintiandi, Tianzifang and most of Huaihai Road’s most active areas (East of Shanxi Road) serving as intense commercial interests. South part of Luwan used to be lower class and less developed, but last year’s Expo had changed that as well, with the Dapu bridge area turned into the brightest new city spot. Of the three districts, Luwan seems the most financially strong, and the district’s philosophy seems to be that it just never ceases to grow, upwards or if not, blend history with five star hotels. Luwan has always been fond of demolition and reconstruction, as you can see in today’s Huaihai Road. A few nice streets up you are in Jing’an, another district fond of the exact same thing. Luwan is into turning low-class residential areas into spectacles, Jing’an is into starting everything luxury way, noted by how West Nanjing Road is different from Huaihai Road. A Xintiandi, for example, would never happen in Jing’an, as the area is relatively newer and lacks a certain old bourgeois flavor, despite the Parliament legend and the Temple being the district’s centerpiece. J

Any native Shanghainese would easily recognize the difference among these three districts. The three district governments’ philosophies seem to collide as well. The question is of course, does it matter that they are different? Sentimental all you want, but the basic philosophy behind the merge is to redistrict the city into a population-wise more balanced state. Pudong, the entire thing being one district, shoulders a large proportion of the city’s education, housing, health care, security and development needs, when smaller districts like the downtown three are allocated the same money with much less responsibility to call their own. The merge facilitates resource sharing, as schools, hospitals, police forces and even government workers can be reallocated among downtown Shanghai’s residents. It also, theoretically speaking, brings down operational costs for the government.

There is technically nothing wrong with re-zoning. The municipal government, itself rumored to be relocating to Pudong in the near future is drawing a big map, entirely based on the fact that smaller districts are getting too much support for too little work. And yet, we wonder whether the drawing itself has too much favoritism written all over it. The very concept of this strong+strong+strong merge seems to be the opposite of balancing out, but concentrating power. The new Puxi Central District, let’s call it that for now, is sort of the definition of “too big to fail”, in the sheer financial sense.  Most of the city’s economic resources concentrate in these downtown areas, when population does not, and in turn, the burden is really on the neighboring larger districts like Xuhui, Putuo, Changning and Hongkou. These districts, already with more people to deal with, would be overshadowed by the Central and ripped off of already scarce opportunities. The border of Putuo and Jing’an has always been the most exemplary. Putuo, a less affluent lower-middle-class, large residential district suffers from the complex of being so close to Jing’an, but geographically just a little further out. That little something matters, as Jing’an continues to market itself as the Jing’an Temple Jing’an or West Nanjing Road Jing’an, Putuo’s appeal dwindles in comparison. Just imagine now, when anything south of the border calls itself “central Puxi”, how much business would Putuo lose?

We are no financial gurus, and we do full-heartedly believe in the sharing of resources, but we would like to draw a different map. Why don’t Jing’an merge with Putuo instead? Huangpu can merge with Zhabei, another area needing some good attention, when Xuhui and Luwan could work out as well. Like how Huangpu took care of Nanshi, this kind of merge promotes city-wide development, not further squeezing out populated districts and trying to turn those into urban/suburban ”residential” prisons like the ones in Minhang. That would be completely unnatural and unethical, as the entire North America being a bad example in place.

The problem of that, it seems to us, is that the richer districts do not want to share. They decide to buddy up so they don’t have to deal with the pressure of doing too little, while still maintaining current status quo, if not better. Jing’an’s eagerness to join the deal is phenomenal, as the district tenses up its security forces recently to prevent any kind of sensational mess like the fire from happening. They know if they are not in now, they are going to be the one losing the game to the new Central. And that’s sad. As we always say, we are all in this together. The entire country, let alone the city. If the new Central’s mission is to become more of a Giuliani style Manhattan, Shanghai will no longer be what it is.

Introducing the 2666 Library

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Pardon us for the lack of updates. We’ve been working on something else lately, something grander, something physical, a place with a lot of books, a “cultured” atmosphere, really good coffee and an amazing projection screen. Here we present the 2666 Library, the name of which taken from the title of our favorite Roberto Bolano book. It’s located in the Jing’an Villa area, (1025 W Nanjing Road No. 136), and even if it’s not too big, it’s everything we as book lovers can hope for.

Last night we had our opening party, which turned out to be very interesting for reasons we won’t explain here. We thank our friends for coming and we hope for your continuous support. And for those new to the idea, the 2666 Library is a membership library +book store + cafe +screening room. As a paying member of 2666, you will be entitled to borrow high quality book titles from the library, participate in our book and film events, among other things.

It’s been a lot of fun for us to make this happen, and foremost, 2666 will be a real, physical place for people to gather together, to read, to discuss, to debate, to cook up new ideas other than hiding behind each’s individual computer screens at all time and talking in the comment sections.

2666 Library will be open full-time from May 1st. Further details will be updated as soon as possible. If you have a question for us, email us at info@2666library.com. Meanwhile, follow us on microblog

Interview with My Little Airport and Silkfloss

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4月16日下午,Little Voice小声音音乐会在新近搬迁至重庆南路的MAO Livehouse举行。My Little Airport的主唱Nicole及丝绵乐队的主唱木夕兔分别接受了我们的电邮采访。

Nicole from My Little Airport x Shanghai Monthly

Shanghai Monthly: 现场演出对你意味着什么?在不同的乐队里演出是否会感觉像两个不同的自己?

Nicole: 現場才是聽音樂,感受音樂,了解樂隊,跟樂隊和音樂交流的唯一途徑。對於我來說。在不同的乐队里演出,剛開始的時候確實覺得自己分開了,分成兩個我。出現很多內心矛盾。後來,我再把兩個自己合在一起。

Shanghai Monthly: 这次你翻唱了两首罗大佑写的国语歌《童年》和《恰似你的温柔》,这两首歌对你有什么特别的意义么?

Nicole: 這兩首是阿P選的。練習的時候,我跟他說,一唱就有想哭的感覺,很擔心在台上出錯。後來,咱倆見面練習時就沒有了。哈哈。歌本身反應了心裡的現實狀態。

Shanghai Monthly: 请列举三张你正在听的唱片。

Nicole: Silver Apples – (Contact) 他們馬上要來中國巡演了!裡面有兩首歌特別喜歡, 分別是 You and I 及 I have known Love。他們是六十年代的節奏先鋒!

Brenda Lee – 很多張⋯⋯太好聽了,很適合一個人在家工作時聽。

HOT AND COLD ﹣ (Conclusion / Introduction) 我很喜歡他們,特別是他們的現場演出。第一次在北京看了他們演出,繼PK14後,成為了第二支我喜歡的北京樂隊。

Shanghai Monthly: 接着会有什么创作和演出计划?

Nicole: 兩個樂隊都在準備出唱片,而且都希望巡演。手工和畫畫方面有時間就做。

4月底5月中,憬觀:像同疊在BJ有3場演出

5月底,MLA 在上海有一場

Shanghai Monthly: 请介绍一下Rose Mansion Analog以及联络Silver Apple中国巡演的过程。

Nicole: 玫瑰樓模擬錄音 (Rose Mansion Analog) 是为一群倾向于模拟录音的DIY集体,2010年成立于北京,目前已经推出了Soviet Pop,Hot & Cold,憬观:像同叠,路新配和Dirty Beaches 五组乐队的六盘磁带专辑,其他新的乐队磁带和黑胶唱片专辑也计划会于2011年陆续出现。

DIY 就是自發。我們不是唱片公司,也不是幫別人錄音做作品。我們是都喜歡這種模擬聲音,一起把自已的創作製作出來。就是一個DIY集體的一個概念。

話說當年李青和李維思在香港住在李文泰家(玫瑰大廈)的時候,李文泰 (VINCE)放了一張SILVER APPLES 的唱片一起聽,然後大家都喜歡了。兩年多後,李維思忽發奇想給SILVER APPLES 寫了封電郵,就這樣被邀請過來了。原來有些事情,比如說你喜歡的樂隊,不一定要等別人安排他們來演出才能看,有很多時候,很多事情,自己也可以辦。

 

木夕兔 from Silkfloss x Shanghai Monthly

Shanghai Monthly: 现场演出对你意味着什么?

木夕兔: Live is Life,我一直很喜欢这句话。现场能让音乐更有生命,因为能感觉到歌者和听众在某种意义上的交流。

Shanghai Monthly: 在京沪两地的观众反应有什么不同么?

木夕兔: 我每次在上海演出都很开心,可能因为演出场合不同的原因,感觉还是挺不同的。但京沪两地的听众都能让我们感觉到很安静在听也感觉很认真,上海观众好像更热情哈哈。

Shanghai Monthly: 你唱歌时为什么总是闭着眼?

木夕兔: 我似乎很容易分心,觉得闭眼能进到自己的世界里面去,但常常也会睁开眼睛和大家互望,看看大家对音乐的反应。

Shanghai Monthly: 请列举三张你正在听的唱片。

木夕兔: Chara – Dark Candy; Jay Jay Johanson – Spellbound; Bill Evans – Essential Standards

Shanghai Monthly: 接着会有什么创作和演出计划?

木夕兔: 接下来会发布两首新歌,九月会作为Flunk中国巡演北京站的嘉宾参与演出。

 

 

从MLA、Michel Ocelot、Silver Apples、迷笛音乐节到上海国际电影节——第二季度上海文化活动推荐

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本周末

MAO Livehouse乔迁建国路后推出了下午场。4月16日下午的Little Voice小声音音乐会Vol.2 “我有一枚浆果”是很好的开胃菜。来自北京的乐队Silkfloss 丝绵以及来自香港的My Little Airport将各表演45分钟,如果你喜欢木夕兔王菲式的清爽声音,或者很萌的Nicole和阿P,请不要犹豫。电影迷和胶片控们可以在当晚移步宁波路古老的新光影艺苑,那里将上映严浩导演的《似水流年》。这部1984年的老电影是香港电影新浪潮的代表作,由斯琴高娃和顾美华主演,曾获当年香港电影金像奖最佳影片、最佳导演等六项大奖。

“红色记忆”系列胶片放映活动将在4月17日放映第三场谢晋(当年仅有35岁!)导演的《黄宝妹》。这部拍摄于1958年大跃进时期的16毫米电影由国棉十七厂劳动模范黄宝妹主演,这位传奇人物将出席放映活动,与过去的自己重逢。现场还将放映贾樟柯《海上传奇》中的黄宝妹片段。

四月下旬

四月下旬的重头戏是上海师大电影学堂主办的法国动画电影导演米歇尔•奥斯洛(Michel Ocelot)回顾展。在4月22日至26日的五天内,将放映《原始星球》La Planète sauvage ( 72分钟, 35毫米胶片)、《复活》Renaissance ( 105分钟, 35毫米胶片)、《大雨大雨一直下》Laprophétie des grenouilles ( 90分钟, 35毫米胶片)等多部名作。4月25日晚,导演还将亲临上海影城三号厅,在放映《一千零二夜》Azur et Asmar之后与影迷座谈。

4月22日至23日的周末则充满了诗意。大仙、沈浩波、尹丽川、芒克、杨黎、翟永明、韩东等诗人将在周庄与左小祖咒、周云蓬、小河等民谣歌手一起出席“2011周庄摩登天空民谣诗歌节”,据悉左小祖咒将与神秘乐手以民谣形式演绎其经典作品。

五月

五月的重头戏是两大音乐节。首先是5月6日至8日在浦东世纪公园举行的2011上海迷笛音乐节。目前已知的演出阵容包括Mr.Big、Mongol 800、Your Favorite Enemies等海外乐队以及代表上海摇滚核心力量的冷酷仙境、顶楼的马戏团(我们的最爱之一!)、水晶蝶、蘑菇团、男孩爬绳等新老乐队和痛仰、夜叉、反光镜、TOOKOO、Free the Birds等众多北京大团。而5月21日至22日在中山公园举行的“2011上海世界音乐周”则有Gotan Project、Huun Huur Tu、叙利亚的大马士革回旋舞蹈团、马里“盲人夫妇歌神”阿玛窦和玛丽安、巴勒斯坦裔英国音乐家Reem Kelani、伊朗的香巴扎特乐团、乌兹别克国家舞蹈团、龚琳娜、吴蛮等出席。

五月的意外惊喜是纽约地下乐队Silver Apples的中国巡演。这支名字源于来源自爱尔兰诗人W.B. Yeats的诗作《The Song of the Wandering Angus》的乐队充满实验性,这里有详细介绍。值得注意的是,由My Little Airport的Nicole成立的Rose Mansion Analog是此次活动的幕后策划。

六月

六月是属于上海国际电影节的。如果你并不在乎谁是电影节主席——好吧,是《雨人》的导演Barry Levinson——那么电影节已经公布的两项展映单元多少还是让人有点兴趣(毕竟我们不是基耶斯洛夫斯基的死忠粉丝):基耶斯洛夫斯基致敬单元将放映《红》、《白》、《蓝》、《两生花》、《影迷》和《爱情短片》等六部经典,每部放映两场(小Tip:不要去一票通轧闹猛,上海影城也可以买其它所有电影院的票);泰国电影展映则……好吧,我们还所知不多,到开幕前两周,我们将有进一步的推荐。

Congratulations Writers, You Are the Only Ones Ever Won a Piracy Battle

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The Writers United vs. Baidu Wenku showdown has become more and more intense over the past weeks. At first no one thought it was serious, after all, how can writers possibly know anything about economics?  Turned out that line of thoughts were a bit facetious. They were serious, and the “Writers United” weren’t just any writers. They were publishers, book dealers, bestselling authors and topped with the CEO of China’s largest online book vendor. The PR smear campaign against Baidu was as successful as anything we’ve seen for a while, one of the most notably parables being to portray Baidu as something as un-screwable as the government. At the end, to most’s surprise, Baidu caved. According to their official statement, they deleted 99% of the millions of user-supplied documents today, and would be taking further copyright complaints from publishers and other rights owners.

We want to say Bravo. Truly brilliant. As far as we can tell, in this grand country of ours, the writers are the only ones who have ever won the battle against piracy.  The question that boggles our minds is of course: why? Is it because the writers are just more intelligent than the filmmakers, the musicians, the video game makers, the TV networks and the software builders, all of whose rights we continue to abuse one way or another without taking any grain of salt? Or is it because books are just such delicate things that they deserve more respect? Is it because the Writers United, which include the one and only Han Han, whose precious words clearly are powerful enough to freak the shit out of even Baidu?

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Poetry Sunday: Politics by Charles Bernstein

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We don’t particularly care for visual or interactive poetry, for probably just this reason above…Two directions literature can go, intellectual superiority or emotional complicity. And playfulness, that’s been used occasionally to hide literary insecurities.

Charles Bernstein is a legendary figure in language poetry, the kind that plays language games, uses HTML codes and other technical means to write/draw stuff that’s more or less abstract. Language poetry is fun, because it makes the poets feel smart. The funniest  fight of the century: feminist poets vs. language poets. It happens all the time. It’s the wrong fight of course. Feminist poetry is also fun, because it makes the feminists feel important. Poetry isn’t going after things. Poets are. Some people like to feel smart.  Some people like to feel important. Some people needs to feel smart first to feel important. Some people needs their importance handed to them to verify they are smart.

If there were Facebook in the 60s, Bernstein would have been using it to talk to himself, among other randomness. Sometimes language poetry, like Facebook, make us feel empty about life. Playfulness is nothing to celebrate, and the pursued lightness isn’t going to cheer us up. That’s not to say Bernstein isn’t smart or important. After all, this poem “politics” is great on its all, even without the formative noises.

A Film Buff in Red, or within the Walls of Memory
红色收藏,或囿于记忆之墙

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南京产的长江牌放映机。35年前的16mm胶片《上海今昔》和《上海啊!上海》。曲阳路574号上海影视文献图书馆三楼。2011年3月19日下午。孙道临和毕克声音出演。这一切构成了一次奇特的体验。伴随着胶片转动的声音,银幕上是两个既熟悉又陌生的上海——大量相同的历史资料影像同时出现这两部纪录片中,却予人迥然不同的体验——让人思考同样的材料是如何构成不同的叙事的,以及对于历史的讲述究竟可以肆意到什么程度。前者拍摄于文化大革命末期(1976年),有激昂的语调和纯色的红。后者拍摄于改革开放初期(1980年),有时代转换时的迷惘与碰撞。两部电影类似的是:都只有一种声音,一种类似于解说奥运会开幕式时的男女和声,Propaganda之声。

这两部产生于特定历史时期的纪录片,作为历史文本无疑极具价值,亦有作多样解读的可能性。如果你像我们一样热爱上海,这些难得一见的历史影像会让你意识到这个城市的变化有多么少(取其褒义)——外滩、淮海路、南京路、豫园、四川路邮政局甚至人民公园人工湖的形状都和从前一样;或进一步了解这个城市的历史——比如肇嘉浜路的臭水浜时期或如今的上海美术馆其实曾经是上海图书馆的所在。当然,我们不得不在类超现实主义的、神话般的宏大叙述的罅隙间找寻这些民间影像,毕竟这不是安东尼奥尼的《中国》或者Joris Ivens的《上海第三医药商店》。

但对于刘德保先生来说,类似的困扰应该并不存在。这位1951年出生的被称为“红色收藏家”的老三届绝非浪得虚名。当他用掷地有声的铿锵语调把一场映后讨论会变成一次仿佛30多年前的爱“毛”主义教育会的时候,那一度由一万块定金和押送胶片的传奇经历引来的崇拜之情瞬间打了折扣。诚然,是这位家藏12台电影放映机、3600多部老电影胶片、50多万份老报纸和海报的中年人使这次难得的放映成为可能,但另一方面他又无法把自我青春年代的美好记忆与那一时代的文化大革命价值观分开,他逃避与执迷的程度几乎不相上下,以至于任何导向反思价值观的问题都会激起新一轮红色话语的反击。他谈起赴新加坡参展的经历:他选择的片子包括《中国第一颗原子弹爆炸成功》、《中南海的风光》、《桂林风光》、《知识老人》、《红旗渠》⋯⋯“这十部电影送片、检查,居然被全部通过。我想我出去,虽然是个人展览,但是代表的是国家形象,代表着另外一个制度下的人们在做什么。”好吧,毕竟有“红色”标签在先,如同多年前上海“中央商场”里有售的那种标明“假冒TDK”的TDK磁带,你无法抱怨什么。

这样看来,他的红色收藏不啻是一堵记忆之墙,他需要被围在这些历史文本及影像之中,以为惟有如此才能留住青春的记忆。他不需要反思的目光,也无法接受下一代人以反讽的视角来看待这些电影。他不是消息闭塞的山区里那些以为毛主席还活着的淳朴农民,但他渴望是,他假装是。如同我们的一位朋友所言,作为个人而非Propaganda,他拥有选择的自由,选择留在红色之墙内,活在幻觉的时代,顺便造福一下我们这些胶片控上海控历史控,贡献也不可谓不大。

据悉“红色记忆”系列胶片放映活动四月将放映由谢晋导演的大跃进时代的纪录片《黄宝妹》,届时黄宝妹本人将出席现场活动。活动具体时间可关注组织方的豆瓣小站

 

 

The Couple Show

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Yesterday after a boring dazzling afternoon at the Shanghai International Literary Festival we stumbled into the opening of the Couples Show across street at the Shanghai Gallery of Art. It was a large show. There were too many pieces with completely different aesthetics that it looked like a little art fair of some sort. The works were collaborative pieces between married (or not) artist couples, and according to our less than attentive observations of the signs, most artist couples don’t normally work together or collaborate on pieces. What was funny, however, was how most work in the show had two components, be it that two fur ox-tail-ish thingy blown to float in the air, or a couple different sets of duet screen videos, or the two Chinese language learning graphs (as far as we could tell), or, in Wu Shanzhuan and his wife’s case, a man and a woman in one picture supermarket shopping with their genital organs exposed. We’ve no idea what that means. What’s our favorite? Had to say the refrigerator. In all seriousness, it was obviously a heavily curated show and had some merits for that reason alone.

As per usual we always run into our friend Leo Xu at these things, and we have no idea if this even qualifies as news, but he no long works at the James Cohan Gallery.

Emma Donoghue Shanghai Interview (Part I)
艾玛·多诺霍采访(上)

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Emma Donoghue在上海爱尔兰领馆

 

前来参加上海国际文学节的爱尔兰作家Emma Donoghue近日在上海爱尔兰领馆接受了我们的采访。采访围绕她去年入围布克奖短名单的小说《房间》(Room)展开,讨论了《房间》的叙事视角、与宗教的关系、小说与现实、作家的标签、女同小说及诸多话题。Shanghai Monthly分两次刊出采访全文。

关于Room的小说类型

在小说的开头没有什么吓人的地方,我告诉我的孩子我是在写一个坏人,一个超级恶棍。孩子们能理解这个,就像他们能理解童话故事、漫画,他们能理解世界上的确有坏人,你得从他们那儿逃开。

全书的主要想法是从孩子的视角来讲被囚禁的感觉。我并不想去找一个暴力、强奸的故事。这本小说很难归类,当我写的时候,我一方面把它视为一个童话故事,另一方面又是一本现实主义的小说,我会考虑诸如家具需要有多大这类的细节问题,我同时多多少少也把它看成一个科幻小说,就像一个习惯了火星的人来到地球,感觉如此不同。我从来没有把它当成一本犯罪小说。而且我的博士论文写的也是十八世纪的英国小说,如《格列佛游记》、《鲁滨逊漂流记》,这类小说里通常有一个天真的叙事者,去不同的文化中旅行,评论不同的社会,因此我也从这些角度来思考。

关于Room的基调

人们都问我,写这本书是不是令人抑郁,但我一直知道这个男孩始终拥有母爱,会有一个快乐的结局,所以写起来并不让我觉得难过,不像写孩子被虐待、被鞭打、独自一人,故事中的男孩被母亲如魔毯围绕似地保护。也因为杰克实际上是那样健康,就像童话故事里的孩子拥有力量,能够克服困难。我觉得有时候读者需要被劝说来读这本书,他们害怕小说会令人恶心,但一个人看过之后告诉另一个,书才会口口相传地卖掉。

关于故事的普遍性

杰克有一部分是我的儿子。我的儿子是被宠爱的,在一个富裕的国家长大,有很多朋友,很多家人。而杰克会学着保持整洁,再利用各种物件,且害羞。但是他们同样都有一种有趣的、好奇的精神。我试图使杰克和他的母亲更具有普遍性,使故事成为一个孩子与父母间的故事,而远远比犯罪小说丰富。在杰克与母亲的共同生活中,我试图找到一种普遍的样式,比如父母总是觉得不得不对孩子们说谎,把事物弄得更魔幻,就像圣诞老人或者仙女或那些神话故事,而父母们不想让孩子们知道世上的坏事。如果我要和我的孩子讲纳粹,那么我会把故事简单化,就说所有的纳粹都跑了,人们获救了。因此父母对孩子说谎,就像Ma对杰克说谎,是同样的心理样式。

关于母子关系

我希望母子之间的关系是彼此相爱,但一点也不伤感。所以我告诉自己,他们永远不会说“我爱你,妈妈”、“我也爱你,杰克”,他们不必说“我爱你”,但母亲和杰克是一种奇怪的关系,因为他们的关系好比母亲和一个很小的宝宝,像母亲依旧喂杰克母乳;但另一方面,他们也像朋友和伴侣,一起逃跑。

关于叙事声音

我觉得从杰克的视角来写作,激发了我的灵感。我每写一本书都会在开头选择好视角。创造这种叙事声音其实并不那么困难,因为我的儿子就是五岁。但我也需要稍微改变一下这声音,它并不和五岁孩子一模一样,因为杰克一直接受母亲的教育,一直在看电视,所以他要成熟一些。但就算他学习了很多单词、那些很长的单词,但他依旧会搞混语法,也会像五岁孩子一样误解事物。所以我会思考一个五岁的孩子怎样讲话,而一旦你建立起他的语法规则,就不难继续下去。因为家里有个五岁的孩子,我可以知道一个五岁的孩子如何看待事物,他会喜欢什么讨厌什么。写作时,我会非常关注我的儿子,更多地和他玩,我会说“我们一起来玩乐高积木吧”。比如在写逃跑那段时,故事里孩子会躺倒在地毯上假装死了,我就问儿子,你会做这个吗?他说,当然,就在地毯上演了起来。

(待续)