On Her Gold Trilogy 纪录片三金问世由来

CHENG ON CHENG

Joanne Cheng on Cinematic Journey Into her Intercultural Life

 

ON “GOLD” IN THE TITLE OF MY DOCUMENTARY TRILOGY

Why do I use “Gold” in the title of my trilogy

I was inspired by the Gold Rush back 150 years ago

The Chinese went to America, California particular.

They were digging gold. There was a gold rush

As if there was the new frontier for hope, for new life.

I felt some 150 years later, the western people come to China for gold rush.

They felt this is the new frontier, they can make money.

They can discover new stories.

I come back for new stories.

Economically, China is booming.

Therefore the world’s attention is in China.

Now the east is very bright, the west is coping with it.

I felt this is story.

This is the cosmology point of view.

I felt this gold is a very good analogy to exemplify the wealth here in China.

There is a saying in the United States

or at least my publicist said:

“If you want to know more about China,

you should look at Joanne Cheng’s documentaries”

So I aim to tell a story from personal perspective

but really try to give an idea of what China or today’s China is

all about from the human perspective.

 

ON THE TRILOGY

The trilogy, the first one is CHINA GOLD RUSH,

An unfolding canvas of modern China, a changing China

Seen through the perspective of China watchers mainly foreigners

The second one MAMAS GOLD , a human interest story,

An intimate portray of orphan’s living in China.

And then the next one, the third one is GOLDEN LOTUS.

Golden Lotus is the name of this bound feet.

It happen to be called “Golden Lotus”.

Sequentially these are the three films.

It has internal through line of a China story,

an intimate Chinese human portrait.

It’s a story seen through the eyes of one individual,

so it’s a very personal story, but it is a story of a country.

It’s a story of two cultures crushing and embracing each other.

I aim my stories to be local stories but with universal appeal.

MAMAS GOLD embraces the American doner and Chinese Mama.

So it is a story that crosses border.

It has an international kind of reasoning behind it.

 

ON INTERCULTURAL CINEMA

I aim to work in the field of intercultural cinema.

To me it is a Chinese-American director trying to study her own country.

But she is speaking English aiming for the English-speaking audience to begin with.

Of course she is embracing her own Chinese language audience too.

Not only the audience should be international,

but also the actor and actresses or the subjects should be cross-cultural.

The filmmakers are very cross-cultural.

From three aspects it should be intercultural.

So I considered that is intercultural cinema.

MAMAS GOLD embraces the American doner and Chinese mama.

So it is a story that cross border.

It has an international kind of reasoning behind it.

 

ON POETIC PHILOSOPHICAL CINEMA

You can think of film as a piece of education,

Most people think film could be entertainment.

But I think film could be philosophy too

I always feel filmmaker could be a poet, or can be a philosopher

or you can implement philosophic or poetic understanding of human life into your film.

And that is my pursuit actually, that is to bring understanding of life from a philosophical point of view or perspective, and doing it in a poetic way.

 

三“金”问世 片名来由

 

为什么三部曲中都有“金”

我受美国旧金山淘金热的启示

150年前中国人涌入美国旧金山淘金掀起空前的淘金热

那里是希望的前沿 新生的开始

150年后 西方人涌入中国淘金

这里是希望的前沿 可挣到钱可挖掘新故事

我就回来挖掘新故事了

中国经济繁荣

世界的目光投向中国

现在 东方亮 西方相对暗淡

我想这就是我要讲的故事

宇宙运动变化如此

我觉得“金”的寓意代表了中国财富

 

我在美国听到有种说法

至少我的外宣顾问这样说

“如果你想了解现在的中国就应看程娟的纪录片”

我目标是从个人视角讲中国的故事

力图从人文关怀的视点告知中国情况勾勒现代中国的肖像

 

 

程娟纪录片三部曲

程娟三部曲第一部是《东方淘金》

她宛如一幅横向舒展的现代中国画卷

从“中国通”和外国人视角看中国的大千变化

我的第二部作品是《金娃娃》的人性故事

中国人文肖像-中国孤儿的肖像

我第三部作品是《中国金莲》

女人的缠足在传统意义上就叫“金莲”

贯穿三部作品的主线就是中国故事-

深度细腻的中国人文肖像

影片立意影人个人视角 但讲一个国家的故事

或两种文化冲突融合的故事

我的创作目标是要讲有普世价值观的地域性故事

 

跨文化影视

我专注于跨文化电影创作

这是一个旅美华人导演文化寻根的故事

她用英文讲述自然第一对象是说英文的观众

当然她也服务于母语观众-中国观众

跨文化电影观众不仅国际化

而且演员和电影主题也要国际化

摄制团队更要国际化

三大方面跨文化

我认为这就是跨文化电影的内涵

比如《金娃娃》讲的是一个中国妈妈和美国捐款人间的故事

这个故事是跨界的

它建构在国际化叙事的理念上

 

诗意哲理性电影

电影可以是一场教育

大多人认为电影是娱乐

我认为电影也可以孕育哲学思想

我一直认为电影人可以是诗人 哲人

对生命要有诗意和哲理性的认识并注入电影

这就是我的电影追求

将生命的哲理诗意的表达于我的电影里