The phrase 'Einmal ist keinmal' means 'once is never' and reflects the idea that if something happens only once, it might as well not have happened at all. In the context of documentary filmmaking, this phrase underscores the importance of capturing and preserving life's moments, allowing them to be revisited and relived through the medium of film, thus giving them a sense of permanence and significance.
The speaker faced several challenges while filming '偷', including difficulty finding subjects in her hometown of Xi'an, leading her to travel to Anyang, Henan. She also had to navigate the complex dynamics between the street boys she filmed and the anti-theft alliance members who often caught them. Additionally, she struggled with ethical concerns about whether the boys genuinely consented to being filmed and the emotional toll of documenting their harsh realities.
Mu Shan grew up in poverty and was lured into a life of theft by a friend who promised him a job. He started stealing at 14 under the coercion of a gang. Black Ali, on the other hand, was sold by his own brother to human traffickers at a young age and later forced into theft and drug addiction. Both boys grew up in environments of violence and exploitation, which shaped their lives on the streets.
After the Xiaoshui Jing choir gained fame, the village saw significant changes, including the construction of a road to the village, increased tourism, and plans for a tourism village development. However, these changes also brought challenges, such as the loss of traditional farming practices, the introduction of debt from building new homes, and a shift in the villagers' way of life from self-sufficiency to wage labor.
The choir faced internal conflicts as they adapted to performing on larger stages. They struggled with technical issues like pitch accuracy, which made it difficult to perform with professional orchestras. Additionally, the villagers' traditional approach to singing clashed with the demands of professional performances, leading to moments of rebellion, such as when they nearly abandoned a major performance before being persuaded to stay by their conductor.
The speaker's relationship with Mu Shan evolved from a documentary filmmaker-subject dynamic to a more personal connection. Over the years, they maintained contact, with Mu Shan sharing updates about his life, including his move to Shanghai and attempts to start a business. However, their communication eventually faded after Mu Shan was arrested, and the speaker lost touch with him, leaving her with a sense of unresolved guilt and loss.
'旷野歌声' explores themes of cultural preservation, modernization, and the tension between tradition and progress. It documents the journey of the Xiaoshui Jing choir as they navigate the challenges of bringing their traditional music to larger audiences while grappling with the impact of external influences on their way of life. The film also reflects on the broader struggles of marginalized communities adapting to a rapidly changing world.
Over time, the speaker's perspective on her early documentary work shifted from focusing on the social issues and hardships of her subjects to appreciating the raw, emotional value of the footage. She came to see her films not just as social commentaries but as personal and historical records that captured fleeting moments of life, relationships, and shared experiences, which gained deeper meaning as time passed.
生活从来都不是一次就过去了。这些很粗糙的像素的颗粒让它越来越像一场梦境,但是它还是在固执地诉说着同一个故事。