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字幕列表 影片播放

  • Vincent Moon: How can we use computers,

    文森‧慕:我們如何使用電腦,

  • cameras, microphones to represent the world

    照相機,麥克風來呈現這個世界,

  • in an alternative way,

    以另一種方式,

  • as much as possible?

    儘可能地展現?

  • How, maybe, is it possible to use the Internet

    或許,如何才能使用網路

  • to create a new form of cinema?

    去創作一部具有新題材的電影?

  • And actually, why do we record?

    問題是,我們為什麼要記錄呢?

  • Well, it is with such simple questions in mind

    10 年前我開始拍攝電影時,

  • that I started to make films 10 years ago,

    這個簡單的問題一直存在心裡,

  • first with a friend, Christophe Abric.

    最早是和朋友克里斯多福‧阿布里克 一起

  • He had a website, La Blogothèque,

    他有一個網站叫做拉布拉格鐵克 (La Blogothèque),

  • dedicated to independent music.

    是一個專為獨立音樂設立的網站。

  • We were crazy about music.

    我們非常熱愛音樂

  • We wanted to represent music in a different way,

    想要以不同的方式來展現音樂,

  • to film the music we love, the musicians we admired,

    因此我們拍攝喜愛的音樂, 我們所尊敬的音樂家,

  • as much as possible, far from the music industry

    儘可能去遠離音樂產業,

  • and far from the cliches attached to it.

    遠離大家一直重複在做的事。

  • We started to publish every week

    我們開始每週

  • sessions on the Internet.

    在網路上發佈影片。

  • We are going to see a few extracts now.

    現在我們來看一些片段。

  • From Grizzly Bear in the shower

    從浴室裡的灰熊樂團(Grizzly Bear)

  • to Sigur Ros playing in a Parisian cafe.

    到席格若斯樂團(Sigur Ros ) 在巴黎咖啡廳的演奏。

  • From Phoenix playing by the Eiffel Tower

    從在艾菲爾鐡塔表演的 鳯凰城樂團(Phoenix)

  • to Tom Jones in his hotel room in New York.

    到紐約飯店裡的湯姆‧瓊斯。

  • From Arcade Fire in an elevator

    從拱廊之火樂團 ( Arcade Fire )

  • in the Olympia

    在奧林匹亞的一個電梯裡的表演

  • to Beirut going down a staircase in Brooklyn.

    到貝魯特在布魯克林下樓梯時的表演。

  • From R.E.M. in a car

    從 R.E.M. 在車子裡面的表演

  • to The National around a table at night

    到全國人民樂團(The National)

  • in the south of France.

    在南法夜晚圍繞著桌子的表演。

  • From Bon Iver playing with some friends

    從邦‧利柏與朋友們

  • in an apartment in Montmartre

    在蒙馬特公寓的表演

  • to Yeasayer having a long night,

    到肯定樂團(Yeasayer ) 的漫漫長夜,

  • and many, many, many more

    還有很多,很多

  • unknown or very famous bands.

    不知名或非常有名樂團。

  • We published all those films

    我們將這些影片

  • for free on the Internet,

    免費發佈到網路上,

  • and we wanted to share

    我們要分享

  • all those films and represent music

    這些影片以及

  • in a different way.

    以不同的方式來呈現音樂。

  • We wanted to create another type of intimacy

    我們想要以這些新科技

  • using all those new technologies.

    來創造另一種讓人 親近音樂的形式。

  • At the time, 10 years ago actually,

    當時,實際上是 10 年前,

  • there was no such project on the Internet,

    網路上沒有如此多的影片,

  • and I guess that's why the project we were making, the Take Away Shows,

    我想這就是為什麼我們製作的 「帶走秀」

  • got quite successful,

    能夠如此成功

  • reaching millions of viewers.

    達到百萬人次的點閱率。

  • After a while, I got a bit

    過了一陣子之後,我有一點,恩...

  • I wanted to go somewhere else.

    我想去別的地方。

  • I felt the need to travel and to discover some other music,

    我覺得我需要去旅行, 去發現一些不同的音樂,

  • to explore the world,

    去探索這個世界,

  • going to other corners,

    前往其他的角落,

  • and actually it was also

    實際上我那時候也就想要拍

  • this idea of nomadic cinema, sort of, that I had in mind.

    這樣的遊牧電影了。

  • How could the use of new technologies and the road fit together?

    要怎樣才能在旅途中結合新科技呢?

  • How could I edit my films in a bus

    當我穿越 安地斯山脈時

  • crossing the Andes?

    如何在車內編輯影片?

  • So I went on five-year travels

    所以我展開一段五年的旅行,

  • around the globe.

    前往世界各地。

  • I started at the time in the digital film and music label collection Petites Planètes,

    那時我開始經營收錄數位影片和 分類音樂的「小行星」網站

  • which was also an homage to French filmmaker Chris Marker.

    創立這個網站也是向 法國製片家克里斯‧馬克致敬

  • We're going to see now a few more extracts

    現在我們再來看一些

  • of those new films.

    剛拍好的影片片段。

  • From the tecno brega diva of northern Brazil, Gaby Amarantos

    從巴西北部鐵諾布雷嘉 女主唱蓋比‧阿瑪冉爾都斯

  • to a female ensemble in Chechnya.

    到一個車臣的女性樂團。

  • From experimental electronic music in Singapore with One Man Nation

    從新加坡「一個人的國度」 實驗電子音樂

  • to Brazilian icon Tomsinging on his rooftop in São Paolo.

    到巴西的指標歌手湯姆‧喬 在聖保羅的自家屋頂唱歌。

  • From The Bambir, the great rock band from Armenia

    從有名的亞美尼亞搖滾樂團斑比爾

  • to some traditional songs

    到喬治亞第比利斯

  • in a restaurant in Tbilisi, Georgia.

    餐廳裡的傳統音樂。

  • From White Shoes, a great retro pop band from Jakarta, Indonesia

    從印尼雅加達,一個有名的 復古流行樂團「白襪子」

  • to DakhaBrakha, the revolutionary band from Kiev, Ukraine.

    到烏克蘭基輔的 創新樂團達哈布拉哈。

  • From Tomi Lebrero

    從湯米‧樂柏賀羅

  • and his bandoneon and his friends in Buenos Aires, Argentina,

    與朋友在阿根廷布宜諾斯艾利斯 的班多鈕風琴表演。

  • to many other places

    到許多其他地方

  • and musicians around the world.

    以及世界上的音樂家。

  • My desire was to make it as a trek.

    我希望把它做成一個音樂之旅。

  • To do all those films,

    要製作這些影片,

  • it would have been impossible

    如果背後有一個大公司

  • with a big company behind me,

    這是不可能完成的,

  • with a structure or anything.

    因為會有公司組織或制度。

  • I was traveling alone with a backpack

    我背著我的背包獨自旅行-

  • computer, camera, microphones in it.

    帶著電腦,照相和麥克風,

  • Alone, actually, but just with local people,

    真的只有我自己,與當地的人

  • meeting my team, which was absolutely not

    一起開會,在場的人,

  • professional people, on the spot there,

    他們絶對不是專業人士,

  • going from one place to another

    再從一個地方到另外一個地方

  • and to make cinema as a trek.

    一面旅行,一面編輯影片。

  • I really believed that cinema could be

    我相信電影藝術

  • this very simple thing:

    可以非常單純:

  • I want to make a film and you're going to give me a place to stay for the night.

    我想拍攝一部電影, 你提供我一個可以過夜的地方,

  • I give you a moment of cinema and you offer me a capirinha.

    我幫你們拍一段影片, 你們就給我一杯鷄尾酒

  • Well, or other drinks,

    或其他飲料,

  • depending on where you are.

    看你在什麼地方啦

  • In Peru, they drink pisco sour.

    在祕魯,人們喝酸味皮斯可鷄尾酒。

  • Well, when I arrived in Peru, actually,

    當我剛到祕魯時,

  • I had no idea about what I would do there.

    我真的不知道在那裡要做什麼。

  • And I just had one phone number, actually,

    我手上就只有

  • of one person.

    一個人的電話號碼

  • Three months later,

    三個月之後,

  • after traveling all around the country, I had recorded 33 films,

    當我遊遍整個國家之後, 我拍了 33 部影片,

  • only with the help of local people,

    只藉著當地人的幫助,

  • only with the help of people

    僅僅靠著人們的協助,

  • that I was asking all the time the same question:

    我總是一直問相同的問題:

  • What is important to record here today?

    今天這裡最值得記錄的是什麼?

  • By living in such a way,

    以這種方式生活,

  • by working without any structure,

    沒有組織結構的工作方式,

  • I was able to react to the moment

    我能夠與當下互動

  • and to decide, oh, this is important to make now.

    決定這是現在要去做的重要事。

  • This is important to record that whole person.

    記錄整個人是重要的。

  • This is important to create this exchange.

    與他人交流是重要的。

  • When I went to Chechnya,

    當我到了車臣,

  • the first person I met

    我碰到的第一個人

  • looked at me and was like,

    看著我,像是說,

  • "What are you doing here?

    "你在這裡做什麼?

  • Are you a journalist? NGO? Politics?

    你是記者嗎?非營利組織? 還是政治人物?

  • What kind of problems are you going to study?"

    你是要研究什麼樣的問題?"

  • Well, I was there to research

    我來這裡是要研究

  • on Sufi rituals in Chechnya, actually

    車臣的蘇菲儀式,

  • incredible culture of Sufism in Chechnya,

    不可思議的車臣蘇菲文化,

  • which is absolutely unknown outside of the region.

    它絶對是外界無法得知的文化。

  • As soon as people understood

    當地人民很快得知

  • that I would give them those films

    我要將他們拍攝成影片-

  • I would publish them online for free under a Creative Commons license,

    在知識共享協議下, 將影片免費發佈到網路上,

  • but I would also really give them to the people

    我給當地人我所拍攝的影片

  • and I would let them do what they want with it.

    我讓當地人決定 拍攝影片的方式。

  • I just want to represent them in a beautiful light.

    我要以美麗的光芒來展現他們。

  • I just want to portray them in a way that

    我要以一種方式去刻畫他們

  • their grandchildren are going to look at their grandfather,

    讓他們的孫子看到其祖父母,

  • and they're going to be like,

    將會很喜歡,

  • "Whoa, my grandfather is as cool as Beyoncé." (Laughter)

    "哇,我的祖父母和碧昂絲一樣酷" (笑聲)

  • It's a really important thing.

    這是一件很重要的事情。

  • (Applause)

    (掌聲)

  • It's really important,

    這是非常重要的,

  • because that's the way

    因為這個方式

  • people are going to look differently at their own culture, at their own land.

    人們將以不同的眼光來看待 自己的文化,自己的土地。

  • They're going to think about it differently.

    他們會有不同的想法。

  • It may be a way to maintain a certain diversity.

    或許這是一個保有多樣性的方式。

  • Why you will record?

    為何要記錄?

  • Hmm. There's a really good quote

    嗯,有個很好的引用

  • by American thinker Hakim Bey

    美國思想家哈基姆‧貝

  • which says, "Every recording

    的說法「每一個記錄

  • is a tombstone of a live performance."

    都是生活表演的墓碑。」

  • It's a really good sentence to keep in mind

    這是一句值得放在中心的佳言

  • nowadays in an era saturated by images.

    在當今在這個充滿圖像的年代裡。

  • What's the point of that?

    這代表什麼意義?

  • Where do we go with it?

    這是為了什麼?

  • I was researching. I was still keeping this idea in mind:

    我做了研究, 我仍然將此想法放在心上:

  • What's the point?

    有何意義?

  • I was researching on music, trying to pull,

    我研究音樂,試著取得,

  • trying to get closer to a certain origin of it.

    試著更貼近原始風貌。

  • Where is this all coming from?

    這些是從那裡來?

  • I am French. I had no idea about

    我是法國人,我不知道

  • what I would discover, which is a very simple thing:

    我會發現什麼, 那是一件簡單的事:

  • Everything was sacred, at first,

    一開始,每件事都是神聖的,

  • and music was spiritual healing.

    音樂是心靈的治療劑,

  • How could I use my camera,

    我如何使用照相機,

  • my little tool, to get closer

    小工具,去貼近

  • and maybe not only capture the trance

    或許不只是捕捉幻境 抓住

  • but find an equivalent, a cine-trance, maybe,

    也可找到一個平衡點, 一個電影的逸境,

  • something in complete harmony

    將人們完全融入其中

  • with the people?

    的影片?

  • That is now my new research I'm doing

    是我正在做的研究

  • on spirituality, on new spirits around the world.

    心靈上,世界上新的靈性元素。

  • Maybe a few more extracts now.

    現在來看幾部短片。

  • From the Tana Toraja funeral ritual in Indonesia

    從印尼塔納托拉賈的喪葬儀式

  • to an Easter ceremony in the north of Ethiopia.

    到伊索比亞北部的復活節儀式。

  • From jathilan, a popular trance ritual

    從爪哇島雅西蘭

  • on the island of Java,

    一種流行的入神舞蹈儀式,

  • to Umbanda in the north of Brazil.

    到巴西北部的招魂儀式

  • The Sufi rituals of Chechnya

    車臣的蘇菲儀式

  • to a mass in the holiest church of Armenia.

    到亞美尼亞教堂最神聖的彌撒。

  • Some Sufi songs in Harar,

    哈拉爾的蘇菲歌曲,

  • the holy city of Ethiopia,

    衣索匹亞的聖城,

  • to an ayahuasca ceremony

    到死藤水儀式

  • deep in the Amazon of Peru with the Shipibo.

    祕魯亞馬遜深處的 席匹波族(Shipibo)。

  • Then to my new project, the one I'm doing now

    到我的現在正在做的新計劃,

  • here in Brazil, named "Híbridos."

    在巴西叫做「混合動力車。」

  • I'm doing it with Priscilla Telmon.

    我和佩西拉‧泰門一起做。

  • It's research on the new spiritualities all around the country.

    是有關於這個國家的新心靈。

  • This is my quest, my own little quest of what I call experimental ethnography,

    這是我的請求,我自己的小請求, 稱之為實驗民族誌,

  • trying to hybrid all those different genres,

    試著去混合不同的作品類型,

  • trying to regain a certain complexity.

    試著恢復一定的複雜性。

  • Why do we record?

    為什麼要記錄?

  • I was still there.

    我仍然在問這個問題。

  • I really believe cinema teaches us to see.

    我相信拍攝影片這件事教我們去看。

  • The way we show the world

    呈現世界面貌的方式

  • is going to change the way we see this world,

    將會改變我們看待世界的方式,

  • and we live in a moment where the mass media

    我們身處於大眾媒體

  • are doing a terrible, terrible job

    做得很糟糕的時刻,以可怖的方式

  • at representing the world:

    呈現世界:

  • violence, extremists,

    暴力,極端份子

  • only spectacular events,

    只有引人注目的事件,

  • only simplifications of everyday life.

    只有單純的日常生活。

  • I think we are recording

    我認為我們在記錄

  • to regain a certain complexity.

    以獲得一定的複雜性。

  • To reinvent life today,

    去重塑生活,

  • we have to make new forms of images.

    我們必需去製作新的印象。

  • And it's very simple.

    同時也是很簡單。

  • Muito obrigado.

    謝謝。

  • (Applause)

    (掌聲)

  • Bruno Giussani: Vincent, Vincent, Vincent.

    布魯諾‧朱薩尼:文森,文森,文森,

  • Merci. We have to prepare for the following performance,

    謝謝。我們必須準備接下來的表演,

  • and I have a question for you, and the question is this:

    我有個問題,這個問題是:

  • You show up in places like the ones you just have shown us,

    你出現在你給我們看的影片的地方,

  • and you are carrying a camera

    你拿著照相機

  • and I assume that you are welcome

    我假設你受歡迎

  • but you are not always absolutely welcome.

    但你不總是受歡迎。

  • You walk into sacred rituals,

    你踏入令入害怕的儀式,

  • private moments in a village, a town,

    在村莊裡的私人時刻,

  • a group of people.

    一群人。

  • How do you break the barrier

    你是如何打破壁壘

  • when you show up with a lens?

    在你拿出鏡頭的時候?

  • VM: I think you break it with your body,

    文森‧慕:以你的身體打破障礙,

  • more than with your knowledge.

    多於用你既定的知識。

  • That's what it taught me to travel,

    這是旅行中學到的,

  • to trust the memory of the body

    去相信身體的記憶力

  • more than the memory of the brain.

    多於大腦的記憶。

  • The respect is stepping forward,

    尊敬讓你往前邁進,

  • not stepping backward, and I really think that

    而不是後退,我真的認為

  • by engaging your body in the moment, in the ceremony,

    你的身體融入當下,在儀式中,

  • in the places, people welcome you

    這個地方的居民歡迎你

  • and understand your energy.

    也了解你的想法。

  • BG: You told me that most of the videos

    朱薩尼:你告訴我們,你所製作的

  • you have made are actually one single shot.

    大部分的影片一次拍攝完成。

  • You don't do much editing.

    不需要太多的編輯。

  • I mean, you edited the ones for us

    我的意思是,你為我們編輯影片

  • at the beginning of the sessions because of the length, etc.

    我節目開始的時候,因為影片太長,

  • Otherwise, you just go in and capture

    要不然,你會直接

  • whatever happens in front of your eyes

    拍攝你眼前的所有事物

  • without much planning, and so is that the case?

    不要太多的規劃,

  • It's correct?

    對嗎?

  • VM: My idea is that I think that

    文森‧慕:我的想法是

  • as long as we don't cut, in a way,

    只要不剪輯,

  • as long as we let the viewer watch,

    只要讓觀眾看到,

  • more and more viewers are going to feel closer,

    有更多的觀眾會覺得更貼近,

  • are going to get closer to the moment,

    在那時刻更貼近一些,

  • to that moment and to that place.

    在那時刻,那地方更貼近了。

  • I really think of that as a matter of respecting the viewer,

    我真的認為這是尊重觀眾的方式,

  • to not cut all the time from one place to another,

    從頭到尾不去剪接,

  • to just let the time go.

    而是讓時光流逝。

  • BG: Tell me in a few words about your new project,

    朱薩尼:簡短地告訴我你的新計劃,

  • "Híbridos," here in Brazil.

    在巴西稱為「混合動力車」。

  • Just before coming to TEDGlobal, you have actually

    在來到TED全球以前,

  • been traveling around the country for that.

    還在為這計劃在這國家旅行。

  • Tell us a couple of things.

    告訴我們一些事。

  • VM: "Híbridos" is — I really believe Brazil,

    文森‧慕:「混合動力車」是- 我相信巴西

  • far from the cliches, is the greatest religious country in the world,

    是世界上最大宗教國, 並非老生常談,

  • the greatest country in terms of spirituality

    以心靈性層面來說,是最大的國家,

  • and in experimentations in spiritualities.

    在實驗上,在心靈上都是。

  • And it's a big project I'm doing over this year,

    這是我這今年正在做的大計劃,

  • which is researching in very different regions of Brazil,

    探索巴西不同的宗教,

  • in very different forms of cults,

    有著不同的膜拜儀式,

  • and trying to understand how people live together

    我試圖了解在面對當今靈性的事物

  • with spirituality nowadays.

    人們是如何生活在一起。

  • BG: The man who is going to appear onstage momentarily,

    朱薩尼:即將上台的人

  • and Vincent's