Traditional Culture Encyclopedia - Photography and portraiture - Introduction and details of Hugo's holiday

Introduction and details of Hugo's holiday

Hugo's mother Liu Xia lost her husband when Hugo was very young. Because she was drunk and couldn't support her children, she sent Hugo to Wuxi for free education with social support. Liu Xia is unhappy all day, and reindeer and wine have become the sustenance for her to miss her children. A winter vacation, Hugo returned to his hometown-Ewenki settlement in the depths of Daxing 'anling. At this time, he is no longer the child who ran away from home, but a boy of 13 years old. Hugo, who grew up in the city, was at a loss in the face of an alcoholic mother, a poetic uncle, a pure people and a familiar and unfamiliar forest.

As a producer of fine arts, Gu Tao accidentally turned out the photos of Ewenki people taken by his father, and came up with the idea of recording Ewenki people, so he came to Daxing 'anling alone with a machine. Gu Tao and the hunting people in Daxing 'anling live together day and night, taking their dreams and losses into their own lens. Since 2007, he has edited three self-contained anthropological documentaries, The Deerkeeper in Oluguya, Hugo's Holiday and Sodahan, with more than 500 hours of material. Among them, Hugo's Holiday was funded by the documentary channel MIDA of Shanghai TV.

Gu Tao, Director of Creative Team

Planning Gu Tao Photography Gu Tao, Zhao Jiewei, Hong Lei Producer Gu Tao Editing Yu Zhou, Li Bo Award-winning Record Award Time Award Name 201kloc-0/Japanese Yamagata Documentary Film Festival Ogawa Shinsuke Award 201kloc-0/China Documentary Society Top Ten Documentaries of the Year 20 12 Singapore Asian TV Best Documentary Award Release Date.

Release time and place: 20 1 1 Japanese Yamagata Documentary Film Festival 201China Documentary Society 20 12 Beijing Film Academy 20 13 Beijing Gu Tao solo exhibition. Throughout the documentary Hugo's Holiday, director Gu Tao used a medium shot. The audience knows these characters from a bystander's perspective, but they can also have an immersive impression. Facing the camera, Liu Xia and Vega, who have become accustomed to it, can express themselves freely and even express their feelings with songs. This makes it easier for the audience to approach the inner world of the characters and feel the present in the documentary. The film not only records the living conditions of ethnic minorities, but also reflects on their lifestyle and the evolution of national culture. (Shen Li comments)