[分享] 攝影展覽《看見看不見的》：當電影膠卷保存不當時，變成照片顯得更有趣。
The Unseen Seen: When film reels aren’t preserved perfectly, it makes them all the more interesting to photograph
《看見看不見的》展覽：當電影膠卷保存不當時，變成照片顯得更有趣。
(此篇僅作為參考翻譯，若翻譯有誤煩請提醒。譯/岑竹)
Courtesy of Reiner Riedler35 mm Positive Print of "Ginger und Fred" (orig. Ginger e Fred), 1985, Dir. Federico Fellini, act 1 of 7
When photographer Reiner Riedler began shooting film reels and negatives, he veered away from capturing the content of movies, focusing his lens instead on the stories the reels themselves told. His creative playground, Berlin’s Deutsche Kinemathek film archive, housed hundreds of thousands of films spanning decades. When travel and archiving failed to preserve the reels perfectly, it was good news for Riedler. Rips, scratches and imperfections made the reels all the more interesting to photograph. His travelling exhibition, The Unseen Seen, opens at the TIFF Bell Lightbox this week as part of the 2015 Scotiabank CONTACT Photography Festival. The Post’s Teddy Wilson spoke with Riedler from Vienna about his magnum opus exhibition.
當攝影師 Reiner Riedler 開始拍攝電影膠卷與電影底片時，他的焦點不在電影內容上而是轉移到電影膠卷本身的故事。數十年累積下來擁有上千萬部電影的德國柏林電影資料館（Deutsche Kinemathek）是他的創意園區。那些到各處去放片或因保存不當而劣化的電影片，對Riedler來說都是最好的材料。撕裂，刮傷或者各種讓電影底片不盡完美的狀況都可以在攝影作品之下變得更有趣。他今年的巡迴展覽「看見看不見的」（The Unseen Seen），首展於本週加拿大多倫多國際影展，Scotiabank CONTACT Photography Festival的其中一個節目。本篇作者Teddy Wilson在維也納與Riedler訪談關於他的代表作品。(此篇僅作為參考翻譯，若翻譯有誤煩請提醒。譯/岑竹)
Q How did the idea come about for The Unseen Seen, to photograph film reels?
問：關於《看見看不見的》，拍攝電影片盤的靈感來源為何？
A The idea originally came from a friend who works in the archive at the Deutsche Kinemathek. We went to the same university, and he always told be about his archives. One day I was curious, maybe it is interesting to have a look at the boxes of film reels. They have many stories to tell because they have a long history, they travel a lot. You can see from the outside how long their journey was.
答：靈感來自一位在Deutsche Kinemathek工作的朋友。我們讀同一所大學，他常常說關於電影資料館的事情，所以有一天我就很好奇想要看看那些他說的片盒跟膠卷。這些片盒跟膠卷因為到處旅行，充滿著許多歷史跟故事可以說。光看他們的外觀就知道他們經歷多少旅程。
Q How did you start photographing them?
問：你如何開始拍攝這些片盤？
A I went to a film museum in Vienna, and rented one movie that had a nick and I brought it to my studio. I was just curious, I had never touched a movie reel. I opened it and took it against a light. There was this special moment when I saw that it was transparent. You have the size of an LP, and you turn it around and then there are these patterns and I was really surprised. In this moment I knew there was something to do. I contacted my friend in Berlin from the Deutsche Kinemathek and asked if we could start something together. I got permission to make a film list and to go to the archives and have a look at all the movies. They have hundreds of thousands. I started with very simple movies that I saw in my childhood, like Bambi and King Kong. It was a very exciting journey, and it’s not finished.
我從維也納的一間電影資料館租了一部電影片帶回我的工作室， 但是這部片有一個裂痕。我從來沒有碰過電影膠卷，我是因為好奇租的。我打開它朝向亮光看著，當我看到它的透明度時候，一瞬間有很奇妙的感覺。它的大小跟黑膠唱片差不多，但是你側面看時它所擁有的這些圖案讓我好驚訝。那個時候，我就知道可以做什麼事情了。我與那位在Deutsche Kinemathek工作的朋友聯繫，我問我們可否一起進行這個計畫。我因此得到資料館的許可，進到裡面看所有的電影片然後列出我要的清單。他們有上千萬部的電影片。我從我小時候看的一些電影片開始，比如《小鹿斑比》和《金剛》。那是個讓人興奮的探訪，至今都還沒有結束。
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Courtesy of Reiner Riedler 35 mm Positive
Print of "Der Blaue Engel" (The Blue Angel), 1930, Dir. Josef von Sternberg, act 5 of 5
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問：使用電影膠片實體創作對你來說重要性為何？
A We just know movies by their projected image, we never see the material. I wanted to have a look at the material that transports the image. I wanted to confront the photographs of [the reels], which are titled the title of the movie, and to confront that with the images in our head and in our memory [of the film]. I wanted to see what happens to an audience if you go to a space and you see pictures, titles, and bring your own memory. This was the experiment.
答：我們都只知道電影放映出來的畫面，我們從來沒有看過它的材質。我想要看那些承載影像的材料為何。我想要用攝影來面對，而且用原本電影的片名來當作攝影的作品名稱，用攝影電影片本身來面對這些在我們記憶裡與腦海裡的影像。我想要知道當觀賞者看到這些照片與電影名稱，再結合回憶時會發生什麼事情。這是一種實驗。
Q How did you then develop a technique to photograph them?
問：那之後在拍攝的技術上是如何發展的呢？
A At the very beginning I had to do some experiments. I had to backlight the movies. Now I use a ring-flash, and it is always wide light, so I don’t need to change the colour of the light. I tried to keep the same methods for all the movies, to [better] see the difference [between films] at the end. Also important, I always use the first act. Many of the movies have three, four five, up to 13 rolls, and I just decided to do the first acts. Sometimes I shoot all the acts, like The Three Colors trilogy. [For] Three Colors: Blue, I took all of them because it was amazing, the only [film reel] that was blue. It is the analogies between the colours, the patterns, and the titles that were interesting for me as a photographer.
答：一開始我必須要進行一些實驗。比如一開始我從背後打燈。現在我使用廣角的環形閃燈，所以我不需要一直改變燈的顏色。我盡量每一部影片拍攝的時候都使用同樣的方法，這樣才能看到每部片自然的不同呈現。同樣重要的，我都只拍攝第一本（或第一幕)。有些電影有3,4,5或者到13本，但是我決定都只拍攝第一本。有時候我每本都拍，比如《藍紅白三部曲》，因為《藍》實在太讓我驚豔了，它是全部藍色的我一定要拍它。對於攝影師的我來說，這部的顏色，圖像跟片名都實在太有趣了。
Q How did you approach photographing film reels versus photographing portraits or landscapes?
圖：對於拍攝人像與風景來說，拍攝電影膠卷有什麼不一樣的處理方式呢？
A I did documentary photography before. I think I just needed to change because I was really bored with documentary photography. I had been doing it for 20 years, and I had the feeling that there is nothing more to discover. What is always connected with my work is a journey. I always do journeys into worlds which are for me, undiscovered. The journey into the archives for me was a big adventure, how to look at these film reels. And I found out I was the first who did that. Every film reel is a discovery, it is a nostalgic travel to my past, to my first cinema experience, and of course I learned a lot about filmmaking.
答：我之前是拍紀實攝影的。但是我對於紀實攝影已經感到疲乏需要轉換。做了20年的紀實攝影，我覺得已經沒有什麼好再可以發掘的了。「旅程」一直是我的創作作品的關聯性。我喜歡去全新未開發的地方旅行。去電影資料館的旅程然後看到這些電影膠卷，對我來說是一個大的冒險。而且我發現我還是第一個這麼做的人。每部影片都是一次的探索，是一趟懷舊之旅，懷念我的第一次電影經驗。當然我也學了很多關於拍攝電影的知識。
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Courtesy of Reiner RiedlerCitizen Cane
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