导演：杜海滨
年代：2015
片长：106 分鐘
类型：纪录片
Director: Du Haibin
Year: 2015
Duration: 106 minutes
Genre: Documentary
从中国独立电影发展史的角度来看，这部影片可以被视为中国独立纪录片的代表作之一。中国独立纪录片起源于上世纪80年代末期，由一些热心社会问题的青年人发起，以社会观察和记录为主要手段，以发掘和反映社会生活中的边缘和底层问题为主要目标。这些电影在电影院上映的机会较少，但在各种非正式场合和地下文化圈子中受到了广泛关注和赞誉。 《少年小赵》的制作和呈现方式与中国独立纪录片的传统风格有许多共同之处。影片以小赵的视角出发，记录了他成长的过程，呈现了他的家庭、学校、社会以及他的朋友圈。与许多主流电影以及官方纪录片不同，影片并未刻意加入大量的音乐、画面效果和人物解说，而是采用了一种相对真实和质朴的呈现方式，尽可能还原小赵生活的真实状态。 同时，这部影片也具有时代性和社会性。小赵作为一名90后青年，所经历的生活和思想变化，代表了当代中国许多年轻人的生活经历和价值观变化。通过他的经历和视角，影片呈现了当下中国社会的一些焦点问题和矛盾，包括教育、职业选择、家庭关系、社会压力、地域文化差异等等。这些问题和矛盾在中国社会的许多年轻人中广泛存在，因此这部影片的意义不仅仅在于记录小赵的故事，更在于反映当下中国年轻人的生活状态和内心感受。 《少年小赵》是一部代表中国独立纪录片风格和代表当代中国社会的电影，具有深刻的社会意义和时代价值。
Synopsis：From the perspective of the development of independent filmmaking in China, this film can be seen as one of the representative works of Chinese independent documentaries. Chinese independent documentaries originated in the late 1980s, initiated by young individuals passionate about social issues. They use social observation and documentation as their primary means and aim to explore and reflect on marginalized and lower-class issues in society. These films have had limited opportunities for theatrical release but have gained wide attention and acclaim in various informal settings and underground cultural circles.
The production and presentation style of "Young Zhao" share many similarities with the traditional style of Chinese independent documentaries. The film takes the perspective of Zhao, documenting his journey of growth and presenting his family, school, society, and circle of friends. Unlike many mainstream films and official documentaries, the film does not deliberately incorporate excessive music, visual effects, or character narration. Instead, it adopts a relatively authentic and simple presentation style, aiming to capture the true essence of Zhao's life.
At the same time, the film carries a sense of zeitgeist and social relevance. As a young person born in the 1990s, Zhao's experiences and changes in thoughts represent the life experiences and evolving values of many contemporary Chinese youth. Through his experiences and perspective, the film highlights some key issues and contradictions in present-day Chinese society, including education, career choices, family relationships, social pressures, regional cultural differences, and more. These issues and contradictions are widely present among many young people in Chinese society. Therefore, the significance of this film lies not only in documenting Zhao's story but also in reflecting the life conditions and inner feelings of young people in contemporary China.
"Young Zhao" is a film that represents the style of Chinese independent documentaries and represents contemporary Chinese society. It holds profound social significance and contemporary value.
导演简介：
杜海滨，现任教于中国美术学院电影学院。2000年毕业于北京电影学院摄影学院，一直从事独立影像创作。自1998年起，先后创作《窦豆》(1999)、《铁路沿线》(2000)、《高楼下面》（2002）、《人面桃花》(2005)、《电影童年》(2006)、《石山》(2006)、《伞》(2007)、《1428》(2009)、《少年小赵》（2015）等纪录片。他曾获过诸多奖项，比如：《铁路沿线》于2001年获得日本山形国际纪录片电影节特别奖；《伞》荣获第三十届法国真实纪录片国际电影节评委会特别关注奖；《1428》荣获第66届威尼斯电影节地平线单元最佳纪录片。
Director's Biography:
Du Haibin is currently a professor at the Film Academy of China Academy of Art. He graduated from the Photography Department of Beijing Film Academy in 2000 and has been engaged in independent filmmaking. Since 1998, he has created a series of documentaries, including "Doudou" (1999), "Along the Railway" (2000), "Under the High-Rise" (2002), "Peach Blossom" (2005), "Film Childhood" (2006), "Stone Mountain" (2006), "Umbrella" (2007), "1428" (2009), "Young Zhao" (2015), and more. He has received numerous awards, such as the Special Jury Prize at the Yamagata International Documentary Film Festival in 2001 for "Along the Railway," the Special Attention Award from the Jury of the 30th International Documentary Film Festival of Marseille for "Umbrella," and the Best Documentary Award in the Horizons section at the 66th Venice Film Festival for "1428."
展映/奖项：
2015年 香港国际电影节
2015年 谢菲尔德国际纪录片节
2015年 墨尔本国际电影节
2015年 新加坡国际电影节
2017年 西湖国际纪录片大会
2017年 CNEX“网罗人生”主题纪录片高校巡展
2017年 IDF年度优秀纪录片
导演自述：
2009年恰逢中国60周年国庆，逢十年一次的大阅兵又一次上演，而这一次又是60年来经济最好的时期。我在电视上看到央视转播的盛大阅兵画面，脑子里一片空白。也许是和平时期太久了吧，看到那些坚毅的目光和冷冰冰的武器，我会不舒服。 几日后，我来到山西平遥参加一个活动，古城的大街上迎面碰到一群血脉喷张的90后，他们高喊着“中国万岁，中国加油”的口号，游街串巷。所到之处，众人皆鼓掌表示欢迎。 回到酒店，我算了一下，这些90后现在顶多19岁，而我19岁的时候在做什么呢？我好像已经在准备参加每年一度的高考了，而那时我唯一的目标就是省城西安那所闻名已久的西安美术学院。而再往前的几年中，我曾经疯狂地执迷于那时社会上流行的霹雳舞，究其源头其实是一部叫《霹雳舞》的电影。可能资讯闭塞的原因吧，这部电影是我们当时唯一能接触到的教科书，所以目前为止我重复看的次数最多的影片还是《霹雳舞》。网路时代的今天，如果你想，一样可以去浩瀚的网路中寻找到《霹雳舞》这部影片，但我估计不会有几个年轻人，特别是90后，再愿意去看这么一部老片子了。这也是我开始思考的出发点，在资讯如此发达的社会阶段，今天的90后到底在想什么？国家是什么？他们怎么看待属于他们的国家？他们真的爱国吗？他们又是如何爱国的？总之，这些问题对于我一个70后的人一样适用，我一时也无法回答。所以，我想通过这部影片来寻找答案。但是，我们知道，答案不会有，相反却带出更多的问题。
Director's Statement:
In 2009, coinciding with the 60th anniversary of the People's Republic of China, the grand military parade, held once every ten years, took place during what was considered the best economic period in the past 60 years. I saw the broadcast of the magnificent parade on CCTV, and my mind went blank. Perhaps it was because we had experienced such a long period of peace, but I felt uncomfortable seeing those determined gazes and cold weapons. A few days later, I attended an event in Pingyao, Shanxi Province, where I encountered a group of passionate young people born in the 1990s. They were shouting slogans like "Long live China, China, come on!" as they paraded through the streets. Everywhere they went, people applauded and welcomed them.
Back at the hotel, I did some calculations. These young people born in the 1990s were at most 19 years old at that time, and what was I doing when I was 19? I was probably preparing for the annual college entrance examination, and my only goal was to enter the renowned Xi'an Academy of Fine Arts in the provincial capital. In the preceding years, I had been obsessed with the popular street dance known as "piliwu," which was actually inspired by a movie called "Piliwu." Perhaps due to limited access to information, that movie was the only textbook we had back then. To this day, it remains the film I have watched the most times. In today's internet age, if you want, you can still find "Piliwu" among the vast sea of online content. However, I doubt that many young people, especially those born in the 1990s, would be willing to watch such an old film. This became the starting point of my contemplation.
In a society where information is so readily available, what are the thoughts of the post-90s generation? What does the nation mean to them? How do they perceive their country? Do they truly love their country? And how do they express their patriotism? These questions are applicable to someone like me, born in the 1970s, and I still struggle to provide answers. Therefore, I wanted to seek answers through this film. However, we know that answers may not be found; instead, more questions may arise.
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