纪录片自媒体解说素材-新闻动态参考-开拓者克里斯汀·乔伊（Christine Choy）对“我们在展开历史记录历史的责任”/Trailblazer Christine Choy on ‘Our Responsibility to Document History While It Is Unfolding’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0500/3152rhzrw4snbaf.jpg开拓者克里斯汀·乔伊（Christine Choy）对“我们在展开历史记录历史的责任”
Trailblazer Christine Choy on ‘Our Responsibility to Document History While It Is Unfolding’
纪录片开拓者克里斯汀·乔伊（Christine ChoY “流放者”，在圣丹斯电影节上获得今年美国大陪审团纪录片奖。这部电影于周四在Hot Docs举行了国际首映式，周日进行了后续电影放映。 ，Choy自1970年代初以来也一直在摄像头后面稳步工作，并且是总部位于纽约的第三世界新闻雷尔（Third World Newsreel）的创始董事，这是美国最古老的替代媒体艺术组织之一，她通过它从Spikes中进行了开创性纺锤”（1976）。她目前的项目包括有关第二次世界大战美国航空中队的文档：“我曾经照顾他 - 你相信吗？”杀死了文森特·钦（Vincent Chin）？她的许多电影，包括一部电影，最近在标准频道上都可以买到。向热门文档观众解释了下巴死后底特律的隔离社会和劳动问题的特殊动态，Choy继续描述公共广播公司的犹豫，支持下巴纪录片，以将她作为导演。他们说，她唯一的正式培训是建筑，但更重要的是她是亚洲人，因为她是亚洲人。（她被分配给一名来自WGBH的白人记者来监督她的作品。）Choy说，她觉得情况发生了很大的改变，主要是因为她在电影提名后成为学院成员以来。 “当您站起来解释自己的立场并谈论人民的文化，这也是世界文化的一部分，对机构机构的一部分，其中一些人愿意倾听 - 这确实改变了我的景观。她说，1980年代，“你们年轻人，未来的电影制片人能够积极地使用我们的误解，而不是消极地使用我们的误解。她从未见过的镜头在1989年捕捉到，在大屠杀之后，这名男子到达了1989年，Choy主要有兴趣询问三名持不同政见者有关身份不明的“坦克人”了解公关奥特斯特。在会议采访中，她告诉多伦多电影评论家安吉洛·穆里德达（Angelo Muredda），拍摄是“非常混乱的”。 “我从字面上不知道自己在拍摄什么。在芝加哥拍摄后，我跟随他们在纽约。纽约大学（NYU）于2013年在上海开设了一个校园后，纽约大学教授乔伊（Choy）由于与中国历史的联系，并被拒绝了三遍。她说：“他们能相信吗，他们说'埋葬。 Pi，” Choy能够将录像数字化数字化，该录像处于身体状态良好，后来向哥伦布和克莱因（Columbus and Klein）展示了她在纽约大学参加Doc Production班的录像带。它正在展开，对吗？所以要埋葬收获有点可笑，对吗？ （“流亡者”电影制片人）本和紫罗兰（Ben and Violet）做得非常出色，因为这部电影不是教学法。“我非常感谢材料的存在，并且他们能够使用当今的电影语言来重建它，”她继续说道。 “而且我真的很感激这些声音会被听到，也许在中国，但也许是50年后。“纪录片制片人的精神是您必须扮演一个职位 - 即使这可能会危害您的家人，你的财富。但是，您必须担任一个职位，否则，还有谁要这样做？她说：“我们是中国学生，所以我们被允许去看电影，因为我们已经被腐败了。” “我想成为电影明星，但是当我到达美国时，没有亚洲电影明星可以仰望。所以我成为了电影制片人。“现在，我成为纪录片中的电影明星 - 一个疯狂的，难以想象的梦想成真！”“与克里斯汀·乔伊（Christine Choy）的对话”和其他热门文档行业的现场会议记录下来，并在本周的热门文档在线通行证持有人提供。
Documentary trailblazer Christine Choy kicked off Hot Docs’ Industry LIVE conference with a captivating fast-forward through the plot points and ideologies of her experimental, activist filmmaking, including her recent turn in front of the camera in Violet Columbus and Ben Klein’s doc-feature debut “The Exiles,” winner of this year's U.S. Grand Jury Prize in documentary at the Sundance Film Festival.
The film has its international premiere at Hot Docs on Thursday, with a followup cinema screening on Sunday.
A beloved, outspoken film professor for many years, Choy has also worked steadily behind the camera since the early 1970s, and was a founding director with New York-based Third World Newsreel, one of the oldest alternative media arts organizations in the U.S., and through which she made the seminal “From Spikes to Spindles" (1976). Her current projects include a doc about the WWII U.S. air squadron the Flying Tigers and another exploring Tupac Shakur’s influence on Asian pop music: “I used to babysit him—can you believe it?,” she laughed.
Recently, Choy has been experiencing a resurgence in attention—and not only because of “Exiles.”
Her Oscar-nominated, Peabody-winning 1987 documentary “Who Killed Vincent Chin?”—about the case of a Chinese American draftsman who was beaten to death with a baseball bat by two white autoworkers in Detroit in 1982—was inducted last year into the National Film Registry (NFR) of the Library of Congress; many of her films, including that one, were recently made available on the Criterion Channel.
After explaining to the Hot Docs audience the particular dynamics of the segregated society and labor issues in Detroit at the time of Chin’s death, Choy went on to describe the hesitation of the public broadcaster supporting the Chin documentary to greenlight her as director. Her only formal training was architecture, they said, but more important was the question of how she could be objective, since she is Asian. (She was assigned a white male journalist from WGBH to supervise her work.)
Choy said she feels circumstances have changed a great deal, mostly for the better, since she became an Academy member following the film’s nomination. “When you stand up to explain your position and talk about your people’s culture, which is also as a part of world culture, to an establishment institution, some of them are willing to listen—that really changed the landscape for me at the end of the 1980s,” she said, adding, “You young people, future filmmakers, are able to use our misunderstandings positively instead of negatively.”
In “Exiles,” Choy interviews three leaders of the Tiananmen Square protests in their current homes, bearing with her never-before-seen footage she captured in 1989, following the arrival of the men in the U.S. after the massacre.
In 1989, Choy was primarily interested in asking the three dissidents about the unidentified “Tank Man,” but soon realized there was much to learn about the protests. Filming was “very chaotic,” she told Toronto film critic Angelo Muredda during the conference interview. “I literally didn’t know what I was shooting. After filming in Chicago, I followed them around in New York. But the film stayed in negative format and was never processed.”
After NYU opened a campus in Shanghai in 2013, Choy, an NYU professor, offered Shanghai television the footage, due to its connection to Chinese history, and was turned down three times. “Can you believe it, they said ‘bury it.’ I became furious and knew I really should digitize the negative,” she said.
With financial support from Taiwanese director Ang Lee, who had just won the 2013 best director Oscar for “Life of Pi,” Choy was able to digitize the footage, which was in good physical shape, and later showed it to Columbus and Klein, who had taken her doc production class at NYU.
“As documentarians, it is our responsibility to document history while it is unfolding, right? So to bury it again is a little ludicrous, right? ('The Exiles' filmmakers) Ben and Violet did a fantastic job because the film is not didactic.
“I am so thankful the material exists and that they have been able to reconstruct it using today's film language,” she continued. “And I’m really grateful these voices will be heard and maybe not today in China, but maybe 50 years later.
“The spirit of the documentary filmmaker is that you have to take a position—even if it might be jeopardizing your family, your fortune. But you have to take a position, otherwise, who else is gonna do that?”
For Choy, the love of film goes back to her young teenage years living in South Korea (her father was Korean, her mother Chinese). “We were Chinese students, so we were allowed to go to the movies because we were already corrupted,” she said. “I wanted to be a movie star, but when I got to America there were no Asian movie stars to look up to. So I became a filmmaker.
“Now, I’ve become a movie star in a documentary film—what was a crazy, unimaginable dream came true!”
"A Conversation with Christine Choy" and other Hot Docs Industry LIVE sessions were recorded and are being made available to Hot Docs online passholders this week.
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