岩罕法：纪录片是时间和文化的载体

今年31岁的岩罕法（傣）生活和工作于西双版纳景洪市勐罕镇。他早年曾前往广西和浙江的工厂工作，回到故乡之后，他常常试着如用摄像机记录自己的工作和生活。

跨境婚姻现象一直广泛存在于西双版纳诸多边境村寨当中。岩罕法的表嫂，玉罕，便是一位从老挝嫁过来的女孩。对于岩罕法来说，玉罕即是与村民们过着相似生活的一位亲戚，又似乎有一些不同。

“2018年，玉罕与表哥结婚后一直居住在景洪市勐罕镇曼养罕村，因其老挝国籍的特殊身份吸引了我的好奇，很想尝试用摄像机去探寻表嫂的内心想法，记录她的生活状况。”岩罕法说。

经过与表嫂一家人充分沟通之后，岩罕法取得了他们的允许，得以开始他的拍摄和访问。

在拍摄过程中，岩罕法试图通过参与观察与深度访谈相结合的方式，记录下玉罕的日常生活、宗教信仰、参与活动等。影片中的一系列对谈，反映出了玉罕以及作为“外国媳妇”的当前困境与未来期望。这使得该影片不仅只是一部个人生命史，更是一部试图反映西双版纳地区跨境婚姻现象的现实状况的纪录片。跨境婚姻中的外籍女性在中国的婚姻与生活状况是岩罕法关注的主题，同时，他以纪录片的方式反思了针对跨境婚姻的政策，以及社区、家庭在这些政策之下所受的影响及诉求。

Q：你是如何接触到纪录片的？为什么对纪录片感兴趣？

A：我是一名在乡镇文化站工作人员，在工作和生活中经常接触到各种非遗项目的纪录片。我觉得纪录片记录了真实事件，以真人真事为表现对象，是时间和文化的载体。随着时代的变化，各民族文化也随之变迁，有些传统文化也渐渐消失。现在回想起来，过去有太多太多有意义或值得去保存的事情。它们已经不可再重来，所以我感到惋惜。

自从接触到纪录片以后，我就对纪录片很感兴趣。现在我自己也开始学着去记录一些身边有趣的人和事，以及有意义的文化，希望它们可以在历史长河中被记住。

Q：你觉得一个好的纪录片应该是什么样的？请例举你个人喜欢的纪录片。

A：我接触纪录片的时间不久，还待去学习和了解。我觉得一个好的纪录片应该要记录一个有时代感、具有历史意义或者对社会有启发与促进的事件或者活动。

Q：你是如何参与到“澜湄之眼”项目的？

A：是通过一位老师的推荐，参加到了“澜湄之眼”项目。

Q：在这次项目过程中，你为什么选择拍摄“老挝媳妇”？这次拍摄对你自己有怎样的影响？

A：因为这次项目的创作主旨是促进澜沧江-湄公河流域的本土文化多样性保护和发展。所以我选择拍摄“老挝媳妇”。觉得她们和我们是相同的民族，而来自两个不同的国家。我很好奇大家在一起生产、生活中会擦出怎么样的文化火花。我也希望能了解她们嫁到中国之后，会得到什么待遇（政策）。

这次拍摄是我第一次参加比较专业的纪录片拍摄的项目，在这次拍摄种对我启发很大，学习到各种纪录片的专业术语和拍摄方法，进一步的了解了纪录片的拍摄。

Q：在参与项目的过程中有没有遇到什么棘手的问题？最后是怎样解决的？

A：比较棘手的问题就是我自己的拍摄技术问题和后期剪辑问题。后来有云南大学的张海老师前来拍摄现场，对我进行了一些实地的拍摄指导。在“澜湄之眼”的工作坊期间，我也随张海老师和谢文帅老师的指导进行了剪辑工作。

Q：目前为止，你觉得参与这个项目有什么收获？

A：参加了这个项目我的收获太多太多。第一，主要是拍摄技术上的提升。对于我这样的初学者来说，刚开是一点都不知道要怎么去拍摄一个好的纪录片，甚至不知道怎么开始第一步。通过张海老师的指导才迈出了拍摄的第一步。在拍摄的过程中，我对怎样运用镜头、选取角度以及构图都完全不了解，直到老师来拍摄现场开展工作坊时，我才学到什么是全景、中景、近景、特写等这样的镜头区分以及怎样构图。

第二就是后期剪辑知识提高。我是第一次用Pr剪辑软件，所以很不会用。经过张海老师一个下午的时间的讲解和实际操作，让我开始进行剪辑构思，并对Pr软件有了初步的了解。然后我才开始进行影片的初剪。在后期的剪辑中，张海老师和谢文帅老师一边对我讲解软件的应用，还一边教我要怎么样去拍更好的镜头，并告诉我，在拍摄过程中要带着剪辑的思维去拍摄等等。

第三，这个过程进一步提升了我对纪录片的认知，也让我认识了其他几个澜湄流域国家（泰国、老挝、缅甸）的拍摄者，了解了他们的纪录片的工作情况和制作经验。

第四是通过拍摄“老挝媳妇”，我也更多地了解到了身边跨境婚姻家庭的不易和他们对生活的期望。

The 31-year-old I Han Phap (Shan ethnic) was has been living and working in Monghan Town, Jinghong City, Xishuangbanna. He went to work in factories in Guangxi and Zhejiang in his early ages. After returning to his hometown, I Han fa often tries to record his work and life with the camera.

The phenomenon of cross-border marriage has always existed extensively in many border villages in Xishuangbanna. The wife of I Han Phap’s cousin, Yuhan, is a girl from Laos. For I Han fa, Yuhan is a relative who lives a similar life with the villagers, but also seems to be somewhat different.

"Yuhan and my cousin have always been living in Manyanghan Village, Menghan Town, Jinghong City after their marriage. In 2018, her special Lao nationality drew my curiosity, and I wanted to use the camera to explore the inner thoughts of her and to record her living conditions." I Han fa said.

After fully communicating with Yuhan and her family, I Han Phap obtained their permission and was able to start his shooting and interview.

During the shooting, I Han Phap tried to record Yuhan’s daily life, religious belief and participated in activities through a combination of participatory observation and in-depth interviews. A series of dialogues in the film reflect Yuhan’s current plight and future expectations as a “foreign daughter-in-law.” This makes the film not only a personal life history but also a documentary that attempts to reflect the reality of cross-border marriages in Xishuangbanna. The marriage and living conditions of foreign women in cross-border marriages in China are the subjects of I Han Phap’s concern. At the same time, he reflects on the policies for cross-border marriages, and what influences and the appeals these policies have brought to the communities and families.

Q: How did you become acquainted with documentaries? Why are you interested in it?

A: I am working in the cultural station in the town, and I often come into contact with documentaries about different intangible cultural heritage projects in my work and life. I found that documentaries record real events, using real people and real events as the objects of the performance, and they are a carrier of time and culture. With the changes of the times, the cultures of different ethnic groups have also been changing, and some traditional cultures are gradually disappearing. While looking back, we would find that there were so many things meaningful and worth preserving in the past. They cannot come back again, which I feel sorry about.

Since I acquainted with the documentary, I have been very interested in it. Now, I have begun to record the interesting people and things around me, as well as meaningful cultures. I hope they can be remembered in the long history.

Q: How do you think a good documentary should be like? Please give me some examples of the documentaries you like personally.

A: It’s not been long since I started to learn documentary, so I still have a lot to learn. I think a good documentary should record the event or activity with a sense of time, historical significance, or inspiring and promoting meaning for society.

Q: How did you get to participate in the "Lancang-Mekong Vision" project?

A: I participated in the project from the recommendation of a scholar.

Q: During this project, why did you choose to shoot the subject "Lao Wife"? How did this shooting process affect you?

A: I chose to shoot Wife from Laos because the purpose of this project is to promote the protection and development of local cultural diversity in the Mekong Basin. I think that they are from the same ethnic group as us though we come from two different countries. I'm very curious about what cultural sparks it will create when these two people live and work together. I also hope to know what treatment/policy they will get after they get married in China.

This shooting was the first time I participated in a professional documentary shooting project. The shooting process inspired me a lot. I learned various technical terms and shooting methods of documentary making, and I got to understand more about the documentary shooting.

Q: Did you encounter any thorny problems while participating in the project? How did you solve it in the end?

A: One difficult problem for me is my short of shooting and post-editing techniques. Then Mr. Zhang Hai from Yunnan University came to the shooting site and gave me some on-site shooting guidance. In the workshop of the “Lancang-Mekong Vision” project, I also got to edit the film with the guidance of Dr. Zhang Hai and Mr. Xie Wenshuai.

Q: So far, what have you gained from participating in this project?

A: I have learned so much while participating in this project. First, the great improvement of my shooting technology. For a beginner like me, I didn't know how to make a good documentary, or how to start the first step when I had just started shooting. It was through the guidance of Mr. Zhang Hai that I took the first step. In the process of shooting, I didn’t know how to use the lens, choose the angle, and the picture composition at all. It was not until Mr. Zhang came to the shooting site to conduct the workshop did I get to learn what is the panorama, medium shot, close shot, close-up, and how to compose a picture, etc.

The second is the improvement of my post-editing technique. This is the first time I use Premier editing software, so I am not good at using it. After a whole-afternoon explanation and practicing operation by Mr. Zhang Hai, I started to have the idea of editing and got a preliminary understanding of Premier software. Then I started the rough cut of the film. In my later editing, Dr. Zhang Hai and Mr. Xie Wenshuai taught me how to use the software as well as how to take better shots. What’s more, they also taught me to keep the editing thinking during the shooting, etc.

Third, this process has promoted my understanding of documentaries. It also gave me the chance to know different filmmakers in the other Mekong Basin countries (Thailand, Laos, and Myanmar). I got to learn about their experience in documentary making and production.

Fourth, through the filming of  Wife from Laos, I got to learn more about the difficulties of cross-border marriage and family around me, as well as their expectations of life.