2020 CNEX 紀錄片學院 - CNEX Doc Academy (實體 + 線上 Hybrid Event)

CNEX紀錄片學院 活動內容

CNEX致力於將華人紀錄片工作者推向國際舞台，把國際製片經驗帶進台灣。因此願景，CNEX於2010年起，每年舉辦「CCDF─CNEX華人紀錄片提案大會」，更在2011年推出「CNEX紀錄片學院」，內容包括提案大會觀摩、專題講座、大師講堂、影片放映等，於CCDF期間同步進行，旨在提供紀錄片人才及社會大眾更多養分。

台灣地區的學員將可實體參加紀錄片學院活動，台灣地區以外的學員報名成功後會收到活動連結，可線上即時參與所有課程，包括：2天紀錄片國際提案觀摩、4場「後疫情時代」紀錄片專題講座、4部紀錄片放映、超過50位國際紀錄片產業人士一同參與並交換意見。

《阿紫》 The Good Daughter

導演 Director: 吳郁瑩

假如沒有阿紫, 阿龍準備獨自終老一生。再細膩溫柔的性格也抵不過小兒痲痹雙腳的烙印, 四十幾歲才聽媽媽的，花了不少錢及心力, 到越南把阿紫娶回來。但對媽媽，大哥還有周圍的人，越南娶回來的新娘就該聽話。他知道, 在這個安靜的海邊小村裡, 阿紫為了家庭的存續, 犧牲了自己的一切, 被綁在這個連台灣人自己都不願意留的地方。

阿紫是爸爸最疼的女兒, 雖然生長在貧窮的越南農村, 爸爸從不讓她做家事，在必需選擇自己的幸福與家人的生存間, 她選擇了家人。同意嫁到台灣， 只希望被疼愛, 被尊重, 但那夢想, 像大海裡一望無際的天空, 摸不著邊。

倆人都背負著家庭傳統的束縛與期待, 付出著巨大的代價. 但是他們的代價, 究竟換來了甚麼?

THE GOOD DAUGHTER is a cinema verite portrait of Azhe, a young woman from the Mekong Delta who moves to a foreign country to marry a complete stranger in order to support her impoverished family back home.  Like many families of South Vietnamese veterans who fought alongside American troops in the Vietnam War and have since faced decades of debilitating retribution, Azhe’s marriageability is her family’s best hope to stave off destitution. For Azhe, this means living in a small fishing village in Taiwan with a crippeld husband, the two adorable children they have together, and an abusive mother-in-law.  
 
Filmed over the course of three years, THE GOOD DAUGHTER offers an intimate, unflinching account of Azhe as she confronts discrimination in Taiwan for being a foreign bride and works two back-breaking jobs to support both of her families -- all the while fighting back against feeling victimized by her utter lack of options. In the process, the film bears witness to an essential contradiction in the lives of migrant women like Azhe:  As her children grow older and their financial needs increase, can Azhe continue to devote herself unconditionally to her struggling family back home, or must she now focus solely on the new family she created in Taiwan?  And, in the process, how can she realize her dream that her daughters might have a more hopeful future than her own.

《孺子不可教》 Unteachable

製作人 Producer: Lisa TEH

導演 Director: YONG Shu-ling

孺子不可教探討一個問題：「學習的快樂，在教室中如何呈現？」

新加坡世界有名的教育體制中，藏著許多被貼上「不可教」標籤的青少年。一位年輕的女教育家擔任當地學校的代理老師，卻肩負重任：他要帶頭引進一個新的教學方法，希望鼓勵學生跳脫負面標籤的框架，重新拾回對學習的熱誠。然而，這樣的方法能夠在只注重成績的教育體制下嗎？

導演以他的願景及拍攝手法，從旁觀者的角度呈現體制下的教育。《孺子不可教》揭發學生最真誠的實作精神與志向，以及學習與教育的辛勞。

Unteachable explores the question, “What could the joy of learning look like in classrooms?”

Hidden in the shadows of Singapore’s world-renowned education system, are teenagers deemed ‘unteachable’. A young woman joins a local school as a substitute teacher, but she takes on a mammoth task – pilot a new teaching method aimed at empowering students to rise about negative labels and rekindle their innate love for learning. Will this work in a result-oriented education system?

The director’s vision and cinematographic acumen coolly observes the workings of a rigid institution. By exposing the pragmatism that exists alongside students’ earnest ambitions, Unteachable brings to light the labors of teaching and learning. 

《本來面目》 Master Sheng Yen

監製 Executive Producer: 楊蓓 YANG Pei

導演 Director: 張釗維 CHANG Chao-Wei

1940年代，在中國民族命運、人的尊嚴以及佛教尊嚴都跌落谷底的時刻，一個十四歲的男孩在江蘇南通出家，從此，他展開了將近七十年不曾休止的求法與傳法過程，同時，也是追尋生命與信仰尊嚴歸向的過程。 _
《本來面目》以紀實電影的形式，平視平實的視角，呈現聖嚴法師跌宕起伏的一生，以及他所經歷的時代浪潮。影片從1979年紐約街頭揭開序幕，以每十年為一個節點，來鋪陳他的生命歷程。包括：信仰危機（1949）、二度出家（1959）、前往日本（1969）、禪修傳法（1979）、開創法鼓山（1989）、生死關懷（1999）、捨報圓寂（2009）。 

In the 1940s, the time that the fate of the Chinese people and the dignity of Chinese Buddhism fell into the nadir, a 14-year-old boy was ordained to be a Buddhist monk in Nantong, Jiangsu Province,China. Since then he had embarked on the journey of pursuing and spreading the Dharma for nearly 70 years. It was, moreover, a course for him to explore the refuge of his faith and life’s dignity.
Master Sheng Yen portrays Master Sheng Yen’s turbulent life and times in the form of a factual movie. The film unfolds on the streets of New York in 1979, relating the course of Master Sheng Yen’s life with 10-year chapters, including The Dying Fire of His Faith (1949), Second Ordination (1959), Leaving for Japan (1969), Chan Practice and Spreading the Dharma (1979), Founding Dharma Drum Mountain (1989), Care for Life and Death (1999), and Master Sheng Yen’s Passing Away (2009). 

《拉一碗麵》 Noodle Kid

製作人 Producer: 史祖德 Gary SHIH

導演 Director: 霍寧 HOU Ning

中國西部伊斯蘭教地區，數十萬穆斯林以在內地經營拉麵店謀生，這也是 14 歲的馬翔輟學後唯一的選擇。對這個男孩來說，幸福就是記憶裡和母親在一起的時光碎片，當他試圖找回缺失的片段時，面對的卻是信仰與觀念的衝突、現實與生存的挑戰。一個小小的拉麵 店，能成為馬翔找到屬於自己幸福的起點嗎？

Hundreds of thousands of Hui people from Qinghai Province in western China open noodle shops nationwide. This was also the last resort for the 14-year-old Ma Xiang, after he dropped out from school. For him, happiness was the brief moments he remembered sharing with his mother. When he tried to find back the missing moments, he found himself facing unexpected difference between his hometown and the unfamiliar outside world, as well as the challenges of reality and survival. Is this tiny noodle shop going to be the starting point of his own happiness?

9/19 (Sat) 13:30

Rudy BUTTIGNOL // 加拿大知識網絡 總裁暨執行長

Making Successful Documentaries – Right Time, Right Place 製作成功的紀錄片: 對的時間、地點

9/20 (Sun) 14:00

Stephanie McARTHUR // 加拿大國際紀錄片影展 產業節目策劃經理

Julian CARRINGTON // 加拿大國際紀錄片影展 發行經理

Making Local Stories Global 用國際語言說一個在地故事

9/19 (Sat) 14:30 

【後疫情時代：未來播出平台考驗】Life After COVID-19: Future Broadcasting Challenges

主持人 Host:

Peter HAMILTON // 紀錄片顧問
講者 Panelists: 
黃海波 Haibo HUANG // 
鳳凰衛視中文台、副台長/ 總編室主任 / 電影台台長
Dan SALERNO // 紀錄片顧問
Mandy CHANG // 英國BBC故事村＆紀實採購部委製編審

電視台和其他平台會不會改變過去委製跟購買的政策？不同傳播媒介間的平衡會怎麼被影響？觀眾會如何改變？紀錄片的重要性會因此被改變嗎？

Will broadcasters and other platforms change their commissioning and acquisition policies? How has the balance between delivery systems been affected? How have audiences changed? Will the importance of docs be altered?

9/19 (Sat) 16:00

【後疫情時代：未來影展考驗】Life After COVID-19: Future Festival Challenges

主持人 Host: Alex LEE // 紐西蘭邊峰紀錄片節 總監

講者 Panelists: 

Mathieu BEJOT // 法國陽光紀錄片提案大會 策略與開發總監

杜海濱 DU Hai-bing // IDF 西湖國際紀錄片大會 執行長

Tabitha JACKSON // 美國日舞影展總監

Adriek VAN NIEUWENHUIJZEN // 阿姆斯特丹國際紀錄片影展 產業負責人

紀錄片影展如何因應防疫新生活，並維持社交距離？很多紀錄片影展都轉型為線上舉辦：這將會怎麼樣影響它們的未來？我們學到了什麼？疫情中的經驗將會怎麼樣影響日後紀錄片影展的內容以及它們的重要性？

Festivals have had to adapt to the lock-down and social distancing? Many have gone online: what effect will this have on their future? What has been learned? Will this experience impact the future content of festivals and their importance?

9/20 (Sun) 15:00

【後疫情時代：未來發行考驗】Life After COVID-19: Future Distribution Challenges

主持人 Host: 陳玲珍 Ruby CHEN // CNEX 基金會共同創辦人暨執行長

講者 Panelists: 

Gitte HANSEN // First Hand Films 行銷及採購負責人

寧玉琪 Mike NING // 愛奇藝 紀錄片中心總監

Elina KEWITZ // New Docs 營運總監

Mark STUCKE // Journeyman Pictures 創辦人暨營運總監

紀錄片發行的世界會如何轉變？紀錄片的行銷會怎麼樣被封城所影響？串流服務的成長及影院的關閉會怎麼樣改變各種機會的平衡？

What about the world of distribution? Will the marketing of docs be impacted by this period of lock-down? How has the balance of opportunity been shifted by the growth of streaming services and the closure of cinemas?

9/20 (Sun) 16:30

【後疫情時代：未來製片考驗】Life After COVID-19: Future Production Challenges

主持人 Host:

張與蘭 Yulan CHANG // CCDF 總監

講者 Panelists:

朱樂賢 Lex ZHU // 騰訊視頻紀錄片工作室總監

江松長 S. Leo CHIANG // 紀錄片導演、美國影藝學院奧斯卡獎評委

Chris Humphrey // A+E Networks Asia 製作總監

Judith Helfand // 獨立紀錄片製作人

後疫情時代的世界將對紀錄片的製作有何影響？紀錄片工作者該如何反應？會不會對不同主題有所需求？在風格與切入角度的層面，會有什麼限制以及新的機會？

What are the implications of a post-COVID-19 world for the production of documentaries? How will filmmakers respond? Will there be a demand for different subjects? Will there be restrictions or new opportunities in style and approach?

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*方案D為紀錄片工會特享優惠，詳情請洽紀錄片工會 02-2557-1191 docunion@gmail.com