昆西四季

在群里种草的传记片，不同的拍摄班底用四个短片桥接起John Berger的生命片段。

冬天的木屋内，他与同是11月5日出生的Tilda在昏暗的吊灯下削着苹果聊起各自的父亲，战争和历史的沉默。想起之前看《四个春天》，过场间穿插着的也是枯枝和鸟，屋檐和猫，远山未融的雪和雾。乡下的农场里，年轻人向他问起政治和暴动，他说，十岁的牛已经年老，二十年寿命的马也已经高龄，可对于农民而言，死去的总被新生的不断替代，十年寿命的羊总是生生不息，所以羊群的寿命总比牧羊犬长久。

生命总是轮回，“如果你将来到这个世界，那你最好出生七次。一次在着火的房子，一次在结冰的洪水，一次在疯狂的精神病院，一次在成熟的麦田，一次在荒无人烟的修道院，一次置身于猪圈的猪群间。六个婴儿都在啼哭，可这还不够，你必须成为第七人。当你为生存而战时，让你的敌人看到这七个人。一个周日远离工作，一个周一开始工作，一个无偿教书，一个通过溺水学会游泳，一个做森林的种子，一个受自然先祖的庇护，但仅有这些手段还不够，你必须是那第七个人…。”

认识他的时候才知道，某个冬天里他已经动身去了方舟，希望仍路上的我们在生活里也能保持炙热和真实，一起庆祝每个值得坦荡的日子。

●所有照片都是造访的一种方式，或是缺席的一种表达。

●我觉得我们好像前世就认识或共事过，约好在此世相遇，在同一车站下车，但没有商量好时间。

●每头狮子既属于狮群又独立存在，每头牛归于牛类又个性分明。动物被支配同时也被崇拜，这可能是首个存在主义二元论。

●不确定感和希望有关联。

●纵向的连续性：我们生活在一个可以无限延展的时代，但在昆西小镇，这种延展是纵向的，尽头是死亡。

●只要你懂得倾听，故事会不断向你涌来。

● 很简单地，当你踩下油门，你的机车飞驰出去。顺着你的视线望去，每当遇到障碍物，找到这根线，你会知道你要去向哪里。

在纪录片《昆西四季：约翰·伯格的肖像》里，蒂达尔与约翰·伯格有一段饭桌前的对话。他们讲到了父辈对待子辈的态度。蒂达尔重复了约翰·伯格书里的观点：父辈总担心让孩子们了解过去的真相，怕他们会被伤害、污染；然而孩子们需要历史，只有了解历史，他们才能正常认知世界。蒂达尔又讲到了战争。她认为，人们不清楚的，并非战场上那些事，而是从战场归来之后的事。

当然，这不是全部。这部纪录片还谈到了人与动物的关联、政治对生活的影响以及城镇与农村之间的互相围城。以上一切主题，统统浸泡在时光里，由优美的摄影机记录在案，不容反悔。

大雨的上午，时间缓慢悠长。约翰·伯格的影像与遐思被定格。想到这位睿智的哲学家去年已经去世，我在邯郸非常伤感。

这部纪录片分四个部分，有两个主角。处在全片核心的这一位是作家、画家、有时还会出现在很多纪录片里当解说员的John Berger,另一位是近些年经常出现在国际电影节上的女演员Tilda Swinton，也是本片的四位导演之一。两人都来自于伦敦，生日在同一天，父亲都曾参军，却是年龄相差34岁的忘年好友。这部纪录片的标题，也就是两人对话的起点，就在阿尔卑斯山脚下的Quincy，John Berger大部分的时间都住在这里。Swinton从削苹果的方式共情到两人对父亲的回忆，然后在不同的素描画像中感受对方的心境，再到生活中的趣事。展现了一个脱离了艺术家身份的John Berger。跟如今的很多纪录片相比，这部纪录片的规模算是比较简陋，除了两位大名鼎鼎的当事人。但是里面的情感共振还是挺强的，他会说出一些看似平淡随意却让人感受到大量信息的话，例如：“劳动才能让你更好的融入土地。”Swinton读的那首诗很打动我，叫《第七个》，也是John Berger的著作：“如果你要来到这世界上，最好出生七次，……你自己必须是那第七个。也许意识到一切皆是轮回，这位老人才显得如此睿智，有力量。可惜的是，本片上映的第二年，他就去世了，也是在一个冬天，白雪覆盖了阿尔卑斯山。

再看《昆西四季》，被片中更多的片段打动。对最近一段时间的自己启发很大，记录于此。

·战争的沉默

I mean, there’s one specific kind of silence which I personally struggled with, which is the idea of not talking to one’s children about such... possibly the inability to hand this on. You know, we talk a lot about handing experience on, “standing on each other’s shoulders”, and so the idea of your experience kind of being cauterized, and not handing it on to your children, such as my father’s generation. That silence is what I’m talking about.… And I suppose that they would say, “well, we fought so that we wouldn’t have to talk to our children about it, we fought so that our children wouldn’t know. But, “history cannot have its tongue cut out.”It doesn’t really work, that silence, because the curiosity and the need to know is still there. And they need to learn. It is not the going into battle that I find most difficult to imagine, it is coming back from battle.

The resistance of the word “inconsequential”. “To protest is to refuse being reduced to a zero and to an enforced silence. Our protests by building a barricade, taking up arms, going on a hunger strike, linking arms, shouting ,and writing, in order to save the present moment, whatever the future holds.”

·叙事，信息，与现代性

And each lion was lion, each ox was ox.

For me, a storyteller is like a passer. I mean that’s very like somebody gets contraband across the frontier. I mean, stories come to you all the time, if you listen if you listen, if you listen.

One of the features of our time is that people worship ideas. And objects, but ideas particularly. Quite arbitrary, without really understanding their meaning. I mean, take modern art. The idea of modernity, this is the criteria by which people judge things without really enquiring what makes things modern, if the thing is really modern.

I think the idea of information is power, that just more information informs a public has been disproved, right? I mean that is to say that the war crimes of the Bush administration or whatever, are just there in plain sight. But it was kind of like when you have such of this excess of information that isn’t organized, it just all becomes a kind of noise... And people are bored like there is too much of it.

In the monopolistic religions, there is this notion of Heaven and Hell. Different interpretations but these two categories. And it’s worth asking the question are the following: It’s in Hell where solidarity is important, not in Heaven, isn’t it?

The two things about John’s work that will always make me think of him as a political artist that really matters now, is that While there is a commitment-an unwavering commitment to a recognition of the hell that surrounds us and the need for solidarity, there is also an openness and attention to the sensual world that never goes away. It isn’t just baleful, it isn’t just suffering or despairing that even though it can lead to more suffering in a certain way, there is a commitment, a total commitment to being alive to the possibility of contingency and experience in the moment. The other thing is , even though there’s a commitment to talking about, preserving or memorializing or at least having a memory of modes of life and experience that have passed away, there is no nostalgia. And that, to me, is a big difference between the possibility of a kind of left storytelling and the Tea Party dressing up with historically inaccurate Revolutionary costumes. So that there’s a commitment to the possibilities of the world before us, in a sensory, sensual, libidinal, neurotic way, ’cause those energies have to be harnessed for the political. And there’s a commitment to memory and having a relationship to the dead that never degenerates into the seduction of nostalgia.

·乡村

Just as with the Internet and web, people live in an endlessly extensive present moment, with collections of the present absolutely unimaginable a little while ago. I mean, enormous extension, positive and negative in this way. But it is of the instant, but it’s as if were geographic and spatial. In the contry, and in a village like Quincy, that extension is vertical, and it’s to do with time. And that’s where the dead take prop. And the idea of children is not only all the natural reasons, but also a question of that continuity, that vertical continuity.

Interesting that for a peasant, the way he reads the landscape is completely different than ours, in the sense that what we would find, like a beautiful landscape, he could find beautiful equally, but for other reasons. That’s to say, the beauty would come from the value of the work that has been put into that landscape, which has shaped that landscape. Detail reveals something of the work done of it.

In the country where you are so open, and some kind of horizon is always there, you’re never shut in. Because you are open, every season has its particularities, some of which you like. In other words, a season isn’t something that befalls you, it is something that you inhabit.

in the monopolistic religions, i mean，there is this notion of Heaven and Hell. Different interpretations but these two categories. And it's worth asking the question are the following. It's in Hell where solidarity is important,not in Heaven,isn't it?

“在道德观念强烈的宗教里，有天堂和地域的概念。会有不同的表述，但是就这两个类别。有个值得一问的问题就是，在地域里，团结才重要，而不是在天堂，对吗？”

喜欢Tilda 读的声音

The Seventh (A hetedik)

Attila József

If you set out in this world,

better be born seven times.

Once, in a house on fire,

once, in a freezing flood,

once, in a wild madhouse,

once, in a field of ripe wheat,

once, in an empty cloister,

and once among pigs in sty.

Six babes crying, not enough:

you yourself must be the seventh.

When you must fight to survive,

let your enemy see seven.

One, away from work on Sunday,

one, starting his work on Monday,

one, who teaches without payment,

one, who learned to swim by drowning,

one, who is the seed of a forest,

and one, whom wild forefathers protect,

but all their tricks are not enough:

you yourself must be the seventh