意大利神秘之境纪录片（从不被认可到广受好评）

意大利神秘之境纪录片（从不被认可到广受好评）Filmed at the same locations and following the same stories as Antonioni’s film the first episode of the five-episode series Seeking Chung Kuo was previewed at the Embassy of Italy in Beijing on Tuesday.寻找中国Chung Kuo Cina was not publicly shown in the country until 2004 when it was screened at the Beijing Film Academy. 2004年，在北京电影学院举办的“安东尼奥尼电影回顾展”上，该片第一次在中国被公映。‘Seeking Chung Kuo’

从70年代的《中国》，到当下的《寻找<中国>》。在这两部影片所相隔的岁月里，中国发生了怎样的变化？

The first thing any Italian who wants to understand China does is go seek out reputed Italian film director Michelangelo Antonioni’s 1972 documentary Chung Kuo Cina says Italian journalist Gabriele Battaglia also known as Lao Gao in a voice-over at the beginning of a new Chinese docu-series about the film.

“我想每一个意大利人刚开始接触中国的时候，他们最先找到的资料可能就是安东尼奥尼的电影，”一位意大利记者加布里埃尔·巴塔利亚（Gabriele Battaglia）在纪录片《寻找<中国>》的中独白道。《寻找<中国>》是一部在《中国》基础上拍摄的影片。影片中的巴塔利亚旅居中国多年，人们亲切地称呼他为“老高”。老高所说的这部电影，正是意大利电影大师米开朗基罗·安东尼奥尼所拍的纪录片《中国》。

During the 1970s before Beijing implemented its reform and opening-up policy Antonioni’s movie was denounced as “an anti-China film.” The director was devastated by this according to his wife Enrica Antonioni who went to China to shoot the film.

70年代，改革开放前，安东尼奥的这部片子在中国看来是反华的。他的妻子恩丽卡，当时也是陪他一起去拍摄的导演助理回忆道，这种批判对安东尼奥尼来说是巨大的打击。

Chung Kuo Cina was not publicly shown in the country until 2004 when it was screened at the Beijing Film Academy.

2004年，在北京电影学院举办的“安东尼奥尼电影回顾展”上，该片第一次在中国被公映。

‘Seeking Chung Kuo’

寻找中国

Filmed at the same locations and following the same stories as Antonioni’s film the first episode of the five-episode series Seeking Chung Kuo was previewed at the Embassy of Italy in Beijing on Tuesday.

2019年3月19日，《从〈中国〉到中国》5集系列纪录片之意大利篇《寻找〈中国〉》放送会在意大利驻华使馆文化中心举办。

Similar to the first episode the following four are also based on several documentaries by foreign directors filmed in China during the 1970s. They examine the changes and development of the country over the past four decades through the eyes of ordinary people in China.

与第一集相似，该系列纪录片的其他四集也都是在多部70年代外国导演拍摄的有关中国的纪录片基础上，从中国普通人的角度出发，探索中国这几十年的发展变化。

“These famous directors who came to China in the 1970s to shoot the documentaries all came from developed countries – Italy Japan France and the US. It was not that common for foreigners to visit China back then. To some extent their work shaped how the world viewed China ” Zhu Yun showrunner of the new documentary series told the Global Times.

“这些著名的导演在70年代来到中国拍纪录片。他们全都来自发达国家，如意大利、日本、法国和美国。那时候并没有很多外国人来中国。某种程度上来讲，他们的作品影响了世界如何看待中国，” 系列纪录片《从中国到<中国>》总导演朱允在接受环球时报英文版的采访时如是说道。

“The works in the 1970s by the foreign directors are like pieces of evidence that record the lives of ordinary Chinese back then. Through the new documentary series we want to show the world the lives of these same people more than 40 years later to show how China has changed… We want to continue the stories told by these masters and we want to know: ‘Has life been getting better for these people?’” she further noted.

“这些外国导演70年代的作品就好像一个个证据，记录了当时中国普通人生活的状况。通过拍摄这一系列新的纪录片，我们想通过同样的这批人，40多年间生活的变化，来向世界展示中国的变化。同时，我们也想把这些大师没讲完的故事讲完。‘这些人的生活有没有在变好？’我们带着这个问题去拍摄的，” 朱允补充道。

Last wish

大师的愿望

Looking to establish a bridge between China and the world Antonioni was invited to China in 1972 by the Chinese government to shoot the documentary about the country shortly after Italy and China established diplomatic relations. Antonioni filmed in China for about five weeks. In his over-three-hour-long documentary he visits Beijing Shanghai and various towns and cities along the Yangtze River.

安东尼奥尼应邀来中国拍摄纪录片时，正值中国与意大利建交不久。他希望他的作品可以成为世界了解中国的桥梁。他在中国大概拍摄了五个星期，在六个月的剪辑后，这部超过三个小时的纪录片问世了。影片展示了居住在北京、上海以及长江沿岸多个不同城市、村落的中国普通人的生活。

The documentary primarily focuses on the lives of working class people. However since it was deemed as not showing the country’s best side it was defined as “anti-China.”

但由于当时该影片被认为没能展现中国最好的一面，它被扣上了“反华”的帽子，在中国迟迟未能与大家见面。

However in 2004 the film was screened before an audience of 800 at the Beijing Film Academy one of China’s top higher education institutions specializing in film production.

2004年，该片在北京电影学院公映时，800人前来观看。

While Antonioni did not attend the screening he and his wife sent a letter to express his gratitude to the audience and how happy he was that the film was finally screening in China after such a long wait.

安东尼奥尼本人并没能出席观影仪式，但他和他的夫人恩丽卡在信中遥献了致辞。致辞中，安东尼奥尼对前来观影的观众表示了感谢，同时，他表示，看到在这么漫长的等待后，得知自己的作品终于在中国公映，他感到十分欣慰。

“He would have gone to the screening ceremony. He loved watching his work with the audience and observing their reactions especially with young people. Yet he had lost his ability to speak by then so he didn’t attend the ceremony in China ” recalls Enrica in the first episode.

“如果可以，他当时一定会亲自出席这次公映的。他非常喜欢和观众们一起看自己的作品，观察观众的反应，尤其是和年轻人一起。但那时由于他丧失了语言能力，便没有出席那次公映仪式，”恩丽卡在《寻找<中国>》中回忆道。

Although Antonioni never returned to China before he died in 2007 he was able to pass away knowing that Chinese audiences finally were able to appreciate his work.

安东尼奥尼再也没能回到中国，2007年，这位奥斯卡终身成就奖获得者，离开了人世。 但他在离世之前，得以知道，他的作品在中国已经被接受，被欣赏。

让故事继续

Continuing the sotry

Liu Weifu the director of the first episode said his favorite scene is when Battaglia sits down with Ma Yongxi who was in his mid-20s when he appeared in the original film. Unlike many people who shied away from the camera in Antonioni’s original work the 70-something Ma immediately welcomed Battaglia by giving him a big two-handed shake.

刘维夫——《寻找<中国>》该集的导演——在接受环球时报英文版的采访时回忆道，整个影片中他印象最深刻的，大概就是老高找到马雍喜的片段。这位在安东尼奥尼片中，时任河南省安阳市林县大菜园村支书的年轻人，现今已经年近八十。这位老人见到老高的瞬间，便双手握住了老高的手表示欢迎。

“We used to live in a small shabby house built from mud when Antonioni came to shoot his film. Then we moved to a big house in the north. Now we are about to move to a new apartment in a tall building ” Ma says.

“我们以前就住在那很小的土房子，之后搬到这个房子的北面，一个更大的房子里，再搬就是楼房里的新公寓了，”片中马雍喜带着笑容和老高说。

Liu explained that in his opinion Antonioni’s work was very objective in the way he recorded the lives of people in China back then. By visiting the same people nowadays and seeing how their lives turned out can more objectively reflect the changes that have taken place in China such as those experienced by Ma.

刘维夫认为安东尼奥尼的片子反映了当时中国人民的生活。重访片中人物，探索他们这些普通人的生活变化，也可以更加客观地展示中国过去几十年的变化。

“When I was holding Ma Yongxi’s hands I felt that China is really changing. It was a feeling of warmness as well as trust ” Battaglia says in a voice-over during the scene.

“当我握着马雍喜的手，我感觉到中国真的变了。那是一种温暖，也是一种信任。”老高在与马雍喜告别时，在片中独白道。

原文/翻译：Bi Mengying

图：意大利驻华大使馆文化中心、Bi Mengying