文、圖/張馳Zhang Chi 譯曹宇光Cao Yuguang

“波斯諺語道：人心之間，有路相通。這其中一條路，就是文化交流之路?！碑?dāng)?shù)貢r(shí)間9月18日下午，中國駐伊朗伊斯蘭共和國大使龐森在“中國文化節(jié)——中國電影周”開幕式的致辭中如是說。伊朗電影是這個(gè)古老而又神秘的國度奉獻(xiàn)給全世界的禮物，《小鞋子》《櫻桃的滋味》《一次別離》《推銷員》等伊朗電影不僅在全世界各大電影節(jié)斬獲殊榮，更是俘虜了無數(shù)中國觀眾的心，那中國電影在伊朗觀眾中又會(huì)是怎樣的印象呢，兩大文明古國的現(xiàn)代名片在當(dāng)下又將碰撞出怎樣的火花？

9月18日，德黑蘭當(dāng)代藝術(shù)館人頭攢動(dòng)，伊朗電影業(yè)內(nèi)人士和熱愛電影的伊朗觀眾迎來了“中國文化節(jié)——中國電影周”的開幕，《狼圖騰》《孔子》《一代宗師》《智取威虎山》《鋼的琴》《山楂樹之戀》6部中國影片在這里陸續(xù)展映，在伊朗觀眾中開啟了一輪“中國電影熱”。伊朗國家文化指導(dǎo)部影視中心主任莫蘭諾佐澤對(duì)中國電影周的舉辦表示歡迎，他說：“中國電影業(yè)近年來取得快速發(fā)展，中國電影發(fā)展的模式有很多的良好經(jīng)驗(yàn)值得伊朗借鑒，我們希望在電影文化方面與中國合作，也希望今天舉辦的中國文化節(jié)及中國電影周可以成為兩國加強(qiáng)合作的新的開始，翻開新的篇章?！?/p>

為了促成此次在伊朗首都德黑蘭舉行“中國電影周”放映活動(dòng)，中國駐伊朗大使館費(fèi)了好幾個(gè)月的時(shí)間反復(fù)溝通、協(xié)調(diào)、洽談，最終才得以順利實(shí)施，展映的影片也經(jīng)過了反復(fù)比較和篩選。開幕影片《狼圖騰》中有很多我們今天習(xí)以為常的鏡頭，但在伊朗絕對(duì)是禁忌，因此做了技術(shù)性處理。影片獲得了熱烈的反響，主演巴森扎布和制片人王為民的出現(xiàn)讓現(xiàn)場一片沸騰，伊朗電影界人士和影迷對(duì)《狼圖騰》中所表現(xiàn)出的中國哲學(xué)智慧深深著迷，對(duì)影片中“人狼大戰(zhàn)”場景嘆為觀止，眾多伊朗觀眾將制片人王為民團(tuán)團(tuán)圍住，久久不肯離去。

正如中國文聯(lián)副主席李前光在開幕式致辭中說的：“絲綢之路是屬于中國的，也是屬于伊朗的，更是屬于全世界、全人類的，讓我們共同努力，為兩國電影工作者之間的合作交流創(chuàng)造新時(shí)代的輝煌?！本驮陂_幕式舉行之前的非正式會(huì)面上，雙方官員和電影界代表就兩國電影合拍與交流進(jìn)行了第一次交流。

中伊兩國專家交流座談Seminar of Chinese and Iranian Experts

當(dāng)?shù)貢r(shí)間9月19日上午舉辦的“新絲綢之路中伊電影研討會(huì)”上，來自兩個(gè)亞洲電影大國的官員、專家學(xué)者、導(dǎo)演和制片人濟(jì)濟(jì)一堂，為打開中伊兩國電影合作之路展開了熱烈討論。中國駐伊朗大使館文化參贊尹海剛開場便說:“電影是了解一個(gè)國家國情的重要窗口，近年來，中伊兩國在電影方面都取得了令人矚目的成就，在中國人看來，伊朗電影貼近生活，人物刻畫細(xì)膩，通過簡單的故事反映伊朗人民樂觀積極向上的精神；而中國的電影創(chuàng)作水平不斷提高，技術(shù)不斷與國際接軌，市場運(yùn)作日益成熟，電影票房屢創(chuàng)新高，中伊兩國在電影方面各有所長，這為我們將來的合作奠定了良好的基礎(chǔ)；中伊兩國關(guān)系的快速健康發(fā)展，也為我們開展合作提供了機(jī)遇?！敝袊娪按韴F(tuán)團(tuán)長、中國影協(xié)秘書長饒曙光以《中國電影發(fā)展與世界電影新格局》為題發(fā)言，他認(rèn)為：“一帶一路”理念下的中國電影發(fā)展必須時(shí)時(shí)恪守“實(shí)現(xiàn)全球化再平衡”和“開創(chuàng)地區(qū)新型合作”的總體構(gòu)想，在實(shí)現(xiàn)中國電影擁有更高的文化包容度和在世界上的被認(rèn)知度的同時(shí)，推動(dòng)沿線國家電影的可持續(xù)繁榮和發(fā)展，改變好萊塢電影在全球化背景下一枝獨(dú)秀的傳統(tǒng)格局，構(gòu)建“人類命運(yùn)共同體”大格局下世界電影文化多樣化、多元化、多向度傳播和良性互動(dòng)的新格局。中國電影和伊朗電影都有其自身的文化傳統(tǒng)、美學(xué)傳統(tǒng)，具有差異性和互補(bǔ)性，因此也具有廣闊的合作空間，兩國電影機(jī)構(gòu)和電影人應(yīng)該攜起手來，推動(dòng)兩國電影合作拍攝走向良性互動(dòng)、共贏乃至多贏。

伊朗電影同行紛紛表達(dá)了與中國合作的迫切愿望，幾乎每一位嘉賓的發(fā)言都直入主題，從故事片、兒童片、紀(jì)錄片和電影人才互補(bǔ)等方面提出了自己的建議與構(gòu)想。電影《致命逃脫》《小游戲》的導(dǎo)演兼制片人馬蘇里談到合作模式的可能性時(shí)說：“為什么伊朗電影對(duì)中國觀眾有吸引力? 因?yàn)橐晾孰娪吧瞄L用最簡陋的設(shè)備，講最簡單的故事，表現(xiàn)一個(gè)非常宏大的主題，這在全世界電影中都是獨(dú)特的，‘最少即是最多’。中伊雙方的合作不是各出一部分錢來拍一部電影，中國電影首先要找到自己缺少的東西，再找準(zhǔn)伊朗電影之所長，各取所長?！蓖鯙槊竦幕貞?yīng)非常直白：“其實(shí)中國觀眾和電影同行對(duì)伊朗電影已經(jīng)有了非常高的認(rèn)可，我們希望中國影協(xié)和伊朗電影官方能夠促進(jìn)兩國合作拍攝一些有意思的電影，如果未來在中國片場看到伊朗電影人參與制作，或者在伊朗片場看到中國電影人的身影，才是此次研討會(huì)達(dá)到的真正目的?！?/p>

正如饒曙光所說：“我們深切感受到伊朗電影人想要進(jìn)一步了解當(dāng)下中國電影發(fā)展的心情，特別是在推進(jìn)中伊兩國電影合拍方面，期待有實(shí)實(shí)在在的項(xiàng)目落地。眾所周知，古代波斯文明源遠(yuǎn)流長，伊朗是‘一帶一路’沿線重要的國家，在‘一帶一路’戰(zhàn)略背景下，中國的大門無疑是敞開的。由于眾所周知的原因，電影合拍要在伊朗落地，還有很多極其復(fù)雜艱難的工作需要一點(diǎn)點(diǎn)消化，真的是‘心急吃不了熱豆腐’。中國電影人敬佩伊朗電影人能夠用最小的資金、最簡陋的設(shè)備拍攝出最動(dòng)人的電影。我們建議下次再來伊朗的時(shí)候，雙方各自準(zhǔn)備一些具體的項(xiàng)目來討論，達(dá)成真正實(shí)質(zhì)意義上的合作。中國電影市場的容量很大、發(fā)展很快，機(jī)會(huì)很多，我相信在‘一帶一路’戰(zhàn)略合作的基礎(chǔ)上，一定有很多的機(jī)遇。”尹海剛建議，充分利用電影節(jié)等各類活動(dòng)展映兩國電影作品；同時(shí)建立一個(gè)機(jī)制來延續(xù)溝通與合作，建議通過伊中友好協(xié)會(huì)、亞洲文化中心作為聯(lián)絡(luò)點(diǎn)，伊方的建議可以通過他們向中國影協(xié)轉(zhuǎn)達(dá)，中國駐伊朗使館也愿意發(fā)揮橋梁作用。

訪問期間，中國電影代表團(tuán)團(tuán)員們?cè)φ劊阂晾孰娪澳脢W斯卡最佳外語片獎(jiǎng)就跟玩似的，特別是兒童電影，絕對(duì)是世界級(jí)頂尖水平；但殊不知，伊朗在很大程度上只能拍攝兒童電影，因此最好的電影人都在拍兒童片。不少中國導(dǎo)演常常把拍不出好電影歸咎于審查制度，想想伊朗電影的創(chuàng)作和生產(chǎn)環(huán)境，我們恐怕還是要更多地反思自己。交流中的趣事不斷——中國駐伊朗大使夫人是舞蹈專業(yè)出身，特別想促成在伊朗舉辦一場舞蹈演出，但這卻成了一個(gè)不可能完成的任務(wù)：伊朗女性除了手和臉部之外不能暴露身體的任何其他部位，更何況要男女同臺(tái)跳舞更是天方夜譚，因?yàn)楫愋灾g互相握手都是不允許的。也許正因?yàn)槿绱耍袊奈鋫b動(dòng)作電影格外受到追捧，中國駐伊朗使館告知代表團(tuán)：電影《一代宗師》放映當(dāng)天，規(guī)模不大的德黑蘭當(dāng)代藝術(shù)館人山人海，當(dāng)?shù)氐拿襟w都震驚了。

9月16日到21日，中國電影代表團(tuán)訪伊的短短幾天，充分感受到伊朗人民對(duì)于中國人民和中國文化的熱愛，以及他們“電影即是生活”的氣質(zhì)與情懷。無論是在德黑蘭當(dāng)代藝術(shù)館舉行的“中國電影周”展映活動(dòng)，還是在伊朗電影博物館訪問交流，處處見到的是熱情友好的笑臉，總是遇到主動(dòng)握手并要求合影的普通市民，有自告奮勇為我們講解伊朗電影的文藝青年，還有在街頭不期而遇并成為朋友的電影拍攝劇組。就像伊朗電影永遠(yuǎn)在細(xì)膩表現(xiàn)當(dāng)下的生活，撩開面紗的伊朗真實(shí)而美好，中伊電影文化交流與合作的未來令人期待。

伊朗國家電影博物館一景Scene of National Film Archive of Iran

“As a Persian saying goes, there are always paths of communication between the two hearts. Cultural exchange is just one of them.” PANG Sen, Chinese Ambassador to Iran, quoted in his speech at the opening ceremony of Chinese Film Week, as part of Chinese Cultural Festival in Iran on the afternoon of September 18. Film is a gift that such an ancient and mysterious country as Iran dedicates to the entire world.Many Iranian films such as Children of Heaven, Taste of Cherry,A Separation and The Salesman have won awards in varied film festivals worldwide and received hearty appreciation from numerous Chinese audiences. Then what is the impression of Chinese films in Iranian audiences’ mind? What kind of interaction might take place in the film—the modern business card of the two ancient civilizations?

On the afternoon of September 18, the Tehran Museum of Contemporary Arts was filled to its capacity as professional film makers and amateurs in Iran came to welcome the opening of Chinese Film Week where six Chinese films, namely Wolf Totem,Confucius, Grandmaster, Taking of Tiger Mountain, Piano in a Factory and Under the Hawthorn Tree, were shown consecutively and aroused a fashion among Iranian audiences. Majid Mollanoroozi, director of Iran Visual Art Center of Iran Ministry of Culture & Islamic Guidance, extended his welcome towards the Chinese Film Week. “In recent years, Chinese film industry has gained rapid development. Plenty of sound experience with the development mode of Chinese film may serve as reference for Iranian counterparts. We expect that our cooperation with China in film may be realized in the future and that the Chinese Film Week today becomes a new chapter and a good beginning of strengthened cooperation between China and Iran.” he said.

As a pleasure talk among Chinese film delegation in private, the possibility of a film week in China may probably be realized through a simple meeting over quite a short period of time. However, in order to make this Chinese Film Week happen in Tehran, capital of the Islamic Republic of Iran, Chinese Embassy in Iran spent a couple of months in constant communication, negotiation and coordination before it was successfully realized . The final list of the films to be shown was decided after several rounds of comparison and selection. As some shots, in the opening film Wolf Totem though quite ordinary in Chinese people’s eyes, are forbidden scenes in the custom of Iran. Technical processing that happened in the 1980s in China were immediately made to ensure the opening show. The opening show turned out to be a success with a passionate feedback, testified by audiences’ excitement at the sight of the leading actor Basen Zhabu and the producer Wang Weimin after the show. Acclaiming the magnificent part of “War of Human and Wolf” and fascinated with the wisdom in Chinese philosophy, film makers and amateur film lovers in Iran came to surround Wang Weimin, reluctant to leave for quite a long time.

As was stressed in the opening speech by LI Qianguang, vice president of CFLAC, “The Silk Road belongs to both China and Iran It also belongs to the entire world and humankind. We must make joint efforts to create the brilliance of cooperation and exchange among film makers of the two countries in this new age”. It was at the unofficial meeting prior to the opening ceremony that film officials and representatives from the two countries conducted the first talk concerning co-production and exchange.

On the morning of September 19, the New Silk Road China-Iran Film Seminar was held where officials, experts, directors and producers from the two giants in Asian films gathered and discussed enthusiastically how to make film cooperation between China and Iran possible. As the first speaker from Chinese side,YIN Haigang, cultural counselor of Chinese Embassy in Iran, said,“film is a key window to learn about a country. In recent years,China and Iran have gained outstanding achievement in film. In the eyes of Chinese people, Iranian films tend to draw inspirations from vivid life, provide a subtle profile of figures and reflect the optimism of Iranian people via simple stories. As to Chinese films,their-creativity level is constantly upgraded, technology integrated in line with the international standard, marketing operation matured and box office multiplied. The respective advantages in films of China and Iran have laid a perfect foundation for our future cooperation and the rapid yet sound bilateral relationship provides opportunities for cooperation as well”. RAO Shuguang,head of Chinese film delegation and secretary general of China Film Association, delivered a keynote speech titled Chinese Film Development and New Structure of World Film. As he held, under the “B&R” Initiative, the development of Chinese film must always adhere to the general ideals of “rebalance of globalization” and“creating new pattern of regional cooperation”. While realizing a higher cultural inclusiveness and global recognition of Chinese film,it is necessary to promote the sustainable prosperity of films in the B&R countries, crack down the traditional monopoly of Hollywood film in the context of old globalization, and construct a new structure of diversity, multi-elements, multi-dimensions and sound interaction in world films within the framework of “the community with shared future for mankind”. Blessed with their own traditions both in culture and in aesthetics, films of China and Iran have differences both in contrast and in complementarity for spacious cooperation. Film makers and agencies of China and Iran ought to promote the co-production hand in hand with sound interaction and win-win outcome.

Iranian counterparts were so eager to express their urgent will for cooperation with China that almost every speaker came to the point straight and put forward their own suggestion and idea in the respects of feature film, children’s film, documentary and film talents complementation. When talking about the possibility of cooperation mode, Tooraj Mansoori, director and producer of the films Deadly Escape and Little Game uttered, “the attraction of Iranian films to Chinese audiences lies in our capability to tell the simplest story in reflection of an extremely big issue with the humblest equipment, which is unique in the world film circle. As for co-production between China and Iran, it is anything but a joint venture with respective investment. Chinese film makers must find what they lack and what Iranian counterpart is good at so that the co-production can take both advantages to overcome each other’s shortcoming”. In response, WANG Weimin gave a frank reply, “as a matter of fact, Chinese audiences and film makers have a high recognition of Iranian film and we hope that China Film Association and official administration of film in Iran can promote some interesting co-productions. If we can witness some Iranian filmmakers in China or vice versa, the purpose of this seminar will have been fulfilled”.

《櫻桃的滋味》獲得1997年第50屆戛納電影節(jié)金棕櫚大獎(jiǎng)The Film Taste of Cherry Won Palm d’Or Prize at the 50th Cannes Film Festival in 1997

在德黑蘭，中國電影代表團(tuán)偶遇電影攝制組，與伊朗同行相談甚歡Happy Talk between CFA Delegation and Iranian Production Unit in an Encounter in Tehran

RAO Shuguang replied, “we have deep sympathy for Iranian counterparts’ eagerness to learn more about the current development of Chinese films, especially some concrete coproduction projects. As is known to all, the ancient Persian civilization is one of the four civilizations in the world and Iran is a key country in the “B&R” Initiative. In the strategic background of this initiative, China will keep its gate always open to the rest of the world. In the light of current differences between China and Iran, there is much more complicated process to go through before making co-production happen in Iran. Haste makes waste, and some patience is still needed. We really admire our counterparts in Iran, who are capable of making the most touching films out of the minimum funding and the simplest equipment.We suggest that both sides prepare some detailed proposals for discussion the next time we visit Iran so as to realize a genuine cooperation. As Chinese film market is of gigantic capacity, rapid development and many opportunities, we firmly believe that the“B&R” Initiative will bring about changes in the reality”. As YIN Haigang suggest, various events such as film festivals should be fully utilized to showcase films of China and Iran. In the meanwhile,a mechanism should be established for continuous communication and cooperation. Iran-China Friendship Association and Asian Culture Center are recommended as the connecting points where suggestions from Iranian side will be conveyed to China Film Association. Chinese Embassy in Iran is also willing to function as a bridge in between.

During the visit, we once mentioned that the Best Foreign Film Award of Oscar seemed to be a piece of cake for Iranian filmmakers to take in, as especially their children’s films always keep at the top level around the world. Nevertheless, in most degrees, only children’s films are fully allowed in Iran and thus those best filmmakers are invariably shooting children’s films.In China, some directors blamed the censorship for their poor production, but compared with the actual environment for creation and production of Iranian film, they shall probably reflect more on themselves. There was an interesting dilemma in our exchange. As the wife of Chinese ambassador to Iran used to be a professional dancer, she particularly wished to stage a dance performance in Iran. However, Iranian women are forbidden to show any part of their bodies except hands and faces, or shake hands with the opposite sex. Those dances with men and women on the same stage thus become a mission impossible. In this sense, Chinese Kungfu action films received great popularity. As Chinese Embassy in Iran told us, on the show day of the film The Grandmaster, there were so many crowds inside and outside the Tehran Museum of Contemporary Arts that the local media was greatly amazed.

Within a short visit from September 16 till 21, Chinese film delegation fully experienced Iranian people’s love of Chinese people and culture as well as their disposition of “Film is Life”.Whether in the Chinese Film Week events in the Tehran Museum of Contemporary Arts, or in the exchange visit to Film Archive of Iran, we invariably met with ordinary citizens who offered friendly smiles, hand-shakes and group photos. Literary youngsters volunteered to explain about Iranian film and film shooting cast in the street. Just like the delicate and smooth life in Iranian film,the unveiled Iran is so true and beautiful. The future of exchange and cooperation in films of China and Iran is well worthy of expectation.