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How to evaluate the documentary "Under the Sun"?
Under the strict control of the North Korean government, director Vitas Mansky captured the absurdity in the fake perfect image of North Korea. "Under the Sun" compares reality with fiction, and looks at the innocent feelings of human beings from the perspective of children. Although the filming of Under the Sun is strictly restricted, director Vitali Mansky has more or less revealed the "truth" of North Korea, and these details are enough to glimpse the daily life of ordinary people in North Korea.
The new documentary "Under the Sun" tells the story of an 8-year-old Korean girl, Jin Mei, who is ready to join the "Korean Youth League". This is an organization managed by the ruling Labor Party. Zhenmei's mother works in a soybean milk factory and her father is an engineer in a clothing factory. A family of three enjoyed a sumptuous family dinner, took the spotless subway in Pyongyang and paid tribute to the bronze statue of Kim Il Sung, the founding leader of North Korea. There is only one problem: these are all fake.
The North Korean government selects actors for films, writes lines for them, and finds people to guide them to say lines. Every detail of the whole play was carefully handled. In reality, Jane's father is a reporter and her mother works in a restaurant. Once, a shooting director scolded Jane and told her to be natural and make herself at home.
Then, why did film director Vitali Mansky, a documentary director who inherited the tradition of "real film" from Frederick Wiseman and D·A· Pennybeck, agree to accept such an embarrassing, not to mention morally questionable job? The director said it was because he wanted to know about my country and my family's past.
Mansky grew up in the Soviet Union. He divided his life into two stages: 199 1 years ago, 199 1 years later. That year, the Soviet government collapsed, and at the age of 28, he began to record people's past lives under the * * * system. "Documentaries make you sit on a time machine," he said in an interview via Skype from his home in Riga, Latvia. In 20 1 1 "Motherland or Death", he came to socialist Cuba and compared this country with the Soviet Union in the 1970s.
In 20 12, Mansky met with the North Korean delegation at a film festival in Vladivostok. In the next two years, he negotiated with the North Korean government, hoping to film in North Korea. The final contract stipulates that in addition to providing scripts, actors and guidance, North Korean censors will also review the daily shooting results and reserve the final approval right of the film. Mansky can't talk to actors, and he can't shoot any unauthorized scenes.
In the face of such absurd terms, Mansky still insisted on shooting. He said that he felt that his illusions had been shattered. Even so, he still believes that he can make the movie I want to make. He has a lot of experience in shooting in restricted places, such as military camps, prisons or the Kremlin. In any case, we can always find ways to show the true nature of these environments.
He took Lenny Lee Feinster's Victory of the Will as a model. This work about 1934 Nazi Party Congress is regarded as both a masterpiece of political propaganda and an important documentary. I think this can meet the needs of the North Korean government on the one hand, and let the world see the real North Korea on the other. Extreme restrictions require extreme countermeasures, so Mansky used the technical means of unannounced visits to the news.
Without the knowledge of the North Koreans, he kept the machine on all day and recorded the whole process of layout, rehearsal and remake of each scene. We can see that the shooting director of North Korea asked the workers to shoot several films repeatedly in the dairy factory until they showed just the right enthusiasm. In the garment factory, a seamstress announced. When it was photographed again, the output had become "200% over the limit".
When asked about the feeling of joining the league, Zhenmei was obviously overwhelmed by the new responsibility, and two big tears rolled down her cheeks. At the end of each day's work, a crew member will deliberately delay and give another person time to copy the filming content. Then Mansky gives the memory card to the censor, who will delete all the contents they think should not appear overnight.
Such strict government censorship made Mansky feel too much like life in the Soviet era. He said that he became sensitive and suspicious, holding furniture against the door of the hotel room every night, fearing that someone would come in and steal the material he took while sleeping. The crew were worried that their room would be bugged, so they discussed their work in code. As a last resort, Mansky hired a Russian and Korean expert to teach her how to operate the audio equipment.
"Under the Sun" is Mansky's "most like Wiltoff's film" because it tries its best to let the audience see how it is made. For example, the subtitles above the lens show the truth behind these carefully arranged illusions. "The script of this film was assigned to us by the North Korean side," one of the subtitles wrote. In 2005, Mansky explained his principle of shooting form in a public statement. North Korea should really read its first sentence: "The script and the truth are incompatible."
In 20 14, mansky's contract with north Korea broke down, when he was preparing to go to north Korea for the third time. The visa has been postponed. Mansky couldn't get in touch with his partner in North Korea. There was no way to enter North Korea, and Mansky had to start editing hundreds of hours of material into pieces. It was not until Under the Sun began to win praise at various film festivals that he got any news from North Korea. The Korean Ministry of Culture contacted the Russian Ministry of Culture, which provided part of the funds for the film, demanding that the film be destroyed and the producer be punished.
Russia did not comply. However, the Moscow authorities asked Mansky to erase the name of the government from the list of assisting units. Mansky refused and said that his moral dilemma first lies in deciding whether to shoot this documentary from the beginning. Secondly, he said that he had taken measures to protect Zhenmei and her family. I was worried about them, so I didn't put some material that might be bad for them.
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