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（一）影视展映时间表
时间：2009年7月27日-7月31日
Time: July 27th to July 31st
地点：云南大学科学馆一层会议大厅
Venue: The Conference Room of Science Building (Ground Floor), Yunnan University
7月27日
7月27日16：00-17：00
1．《大河沿》，时长60分钟，导演刘湘晨（中国）。
在塔克拉玛干沙漠腹地，克里雅和下游被称为"达里雅博依"，意为"大河沿"，世代居住在这里的人们就叫克里雅人。
老赛地肉孜85岁了，他和他的家人在达里雅博依这个叫做奎克吉依黛（青沙枣）的地方生活了四代，即将临产的外孙女热比汗给他带来的重孙将是这个家族的第八代。
热比汗曾有过一次婚史，后认识了卡车司机斯迪克并成为他的情人。在热比汗即将临产之前，斯迪克才与原妻离婚并与热比汗办了结婚手续。带着即将出生的孩子，再加上斯迪克原来的孩子，热比汗希望自己能与斯迪克共同组成一个家。
但是，热比汗的两位舅舅认为这是一件辱没家门的事，他们不希望把这个孩子生下来。
热比汗的妈妈已有过两次失败的婚姻，她希望孩子生下来，这个外孙将是她后半生唯一的希望和寄托。
老赛地肉孜是最后一个知道外孙女怀孕的人，他没有说一句话。
在各种议论中，老赛地肉孜的重孙出生了，这是一个女孩儿。四十天后为孩子取名，老赛地肉孜托了人去找重外孙的父亲斯迪克，一边通知远近的亲戚和相熟的人来参加他重外孙的命名仪式。
在命名仪式即将举行的前一天，受托的人回到了奎克吉依黛，带回了斯迪克没找到的消息，老赛地肉孜的一家人都落了泪。老赛地肉孜重外孙的命名仪式如期举行，老人给她起了一个与伊斯兰圣地相关的名字，叫：麦地那汗。
Beside the River, 60min, by Liu Xiangchen (China).
In the hinterland of the Taklamakan Desert, The lower reaches of the Keriya River are called Daria-boyi, which means "riverside". The people who have lived here for generations are called the Keriyan.
Saderoz is 85 years old. He has lived with his family at the place called Kuikejiyidai (means green oleaster) in Daria-boyi for four generations. Rabiehan, his parturient granddaughter, will give birth to a baby, his great grandchild and the first member of the eighth generation of the family.
Rabiehan has been married once before. Later she got acquainted with Stick, a truck driver, and became his lover. Only when Rabiehan was close to giving birth did Stick divorce his wife and marry Rabiehan. Rabiehan hopes she can have a good family with Stick, together with her upcoming baby and his child.
But, Rabiehan's two maternal uncles think this will bring disgrace to the family. They don't want the baby to be born.
Rabiehan's mother, after having undergone two failed marriages, wishes to have the baby. This grandchild will be her only hope and spiritual ballast in the latter part of her life.
Saderoz was the last one to know that his granddaughter was pregnant. He didn't speak a word about it.
The great grandchild of Saderoz is born regardless of other people's gossip. The baby is a girl. A naming ceremony should be held in the 40th day after her birth. Saderoz asks a man to find the baby's father Stick. Meanwhile, he notifies his relatives and acquaintances far and near to attend the naming ceremony of his great granddaughter.
The day before the ceremony, the man comes back with a bad news: he didn't find Stick. The Saderoz family all shed tears.
The naming ceremony is on schedule. Saderoz gives his great granddaughter a name associated with an Islamic holy site-Medinahan.
7月27日17：15-18：45
2．《Duka的困境》，时长87分钟，导演Jean Lydall（英国）。
Duka生活在埃塞俄比亚南部的哈马尔（Hamar），已婚，且是五个年幼孩子的母亲。她欢迎并鼓励她的朋友，人类学家Jean Lydall的女儿Kaira，拍摄一部关于她和她家人的影片。自从她的丈夫娶了年轻美貌的第二任妻子以来，Duka一直处于情感波动的状态。哈马尔人既放牧也在边远的丛林地区耕种小片的高粱地，这里的男人被允许娶一个以上的妻子，但很少有人这样做。Duka想不通丈夫为什么要再娶，是因为她老了吗？抑或她患久疟使丈夫感到厌烦了？而且，对于新来的妻子Boro，Duka不知如何是好，因为她总是沉默，除非是在愤怒的时候否则从不表达她的情感。此外，Duka的婆婆对儿子背着她娶第二个妻子感到愤怒。但Duka依然乐观，她相信一旦Boro生了孩子，情况会有所改善。每当儿媳生产的时候，婆婆Sagonda总是谈及她的不可或缺的作用。随之出现的一个镜头是波洛即将临盆，并在Duka、婆婆以及另外两名妇女的帮助下生下一名男婴。马塞洛·弗里尼（Marcelo Fiorini）形容该镜头是"迄今为止民族志电影中最震撼、最具冲击力的片段。"9个月之后，Duka又生了一个儿子，显示了她与第二个妻子相处的是如何融洽，但婆婆制造麻烦。在Duka孩子的命名仪式上，婆婆和儿子Sago之间爆发了激烈的争执。Sagonda感到自己在儿子的家户中受到了排挤，要求一间新房子独居，而她的儿子则对她的酗酒多有抱怨。在场的其他老人劝Sago为他母亲盖间新房子，借此平息了争执。当地男子和男孩建造屋顶的画面与第一部分出现的分娩镜头既平行又互补。影片结尾，Duka对Kaira说，"告诉Tammo的爸爸，他应该看看电影中的我。但愿他的和你的朋友知道这部电影；去看、去听，但愿他们喜欢它。这是我对这部影片的要求。"
Duka's Dilemma, 87min, by Jean Lydall (UK).
Duka is a married woman and mother of five young children, living in Hamar, Southern Ethiopia. She welcomes her friend Kaira, daughter of anthropologist Jean Lydall, by encouraging her to make a film about herself and her family. Ever since her husband married a beautiful, young second wife, Duka has been in a state of emotional turmoil. Among the Hamar, who live with herds of cattle and goats, and cultivate small fields of sorghum in remote, bush-covered country, men are allowed to marry more than one wife, but only a few men ever do so. Duka wonders why her husband married again; did he find her too old, or was he turned off because of her chronic malaria? Also, she doesn't know what to make of Boro, the new wife, who is silent and never expresses her feelings except in rage? And on top of this, Duka's mother-in-law is angry with her son for marrying a second wife behind her back. Duka is optimistic, however, that things will improve once her co-wife gives birth. Sagonda, the mother-in-law, talks about her indispensable role whenever a daughter-in-law gives birth, and then a scene unfolds in which Boro, Duka's co-wife, goes into labour and, with the help of Duka, the mother-in-law and two other women, gives birth to a son. Marcelo Fiorini describes this scene as "some of the most stunningly powerful footage ever shot in ethnographic film." Nine months later, Duka, having given birth to yet another son, explains how well she and her co-wife are getting on with each other, but how their mother-in-law, Sagonda, is creating problems. At the naming ceremony for Duka's child a heated dispute erupts between the mother-in-law and her son, Sago. Sagonda, who suffers feelings of exclusion in her son's ménage, demands a new house, while her son complains about her drinking habits. The elders who are present resolve the dispute by recommending that Sago build a new house for his mother. The construction of a roof for this house by local men and boys both parallels and complements the birthing scene in the first part of the film. The film ends with Duka speaking to Kaira, saying, "Tell Tammo's dad he should see me in the film. May his friends and yours know it; hearing and seeing, may they like it. That's my request for the film."
7月28日
7月28日8：00-9：50
3．《Koriam的法则与统治的逝者》，时长110分钟，导演Gary Kilde（澳大利亚）、Andrea Simon（美国）。
片中澳大利亚人类学家Andrew Lattas深入巴布亚新几内亚珀米欧（Pomio）地区玛同（Matong）村，与哲学家报道人Peter Avarea展开热烈对话。通过对话，他们发现了在很大程度上被误解的文化现象背后的宇宙观：太平洋"船货崇拜"。
珀米欧基翁运动出现于1964年，由Michael Koriam Urekit发起。面对官方谴责，其政治与宗教哲学力图揭示完美生存方式的路径，这种路径白人已经找到或者被赋予但自私地独占了。
基翁领导人仔细审查传教士的启示以寻找暗藏的真理和守则。他们也考察殖民统治的形式，尤其是资金和政府机构作为寻找权力来源的线索。Koriam的核心问题是如何从祖先的错误中解脱出来，这种错误将他的人民置于被征服状态。基翁融合了部分基督教传统并使之本土化，寻求与死去的至亲更密切的接触，诱导并恳求他们尽快返回，以结束种族不平等带来的贫困和屈辱。于此同时，还需要与白人权力的两个机构--教会和政府谨慎和巧妙地周旋。
本片关注现代作品和帕米欧基翁运动的宇宙论理解。该运动的领导人渴望表明，该运动与"等候船货"没有任何关系。相反，其重要任务是为即将到来的"变化"做准备，同时，在此时此地建立一个更好的社会。
Koriam's Law and the Dead Who Govern, 110min, by Gary Kilde (Australia), Andrea Simon (USA).
In Koriam's Law Australian anthropologist Andrew Lattas engages with philosopher-informant Peter Avarea of Matong village, Pomio, Papua New Guinea. Through their impassioned dialogue they uncover the cosmology behind the much misunderstood cultural phenomenon: the Pacific "cargo-cult".
The Pomio Kivung Movement was founded in 1964 by Michael Koriam Urekit. In the face of official condemnation its political and religious philosophy sought to uncover the path to that perfect existence which whites seemed to have found - or been given - and selfishly monopolised.
Kivung leaders scrutinised the revelations of missionaries for hidden truths and codes. They examined, too, forms of colonial governance - especially money and bureaucracy - for clues to the source of their power. Koriam's central question was how to find a way back from the original ancestral fault that put his people in this subjugated state in the first place. The Kivung incorporated and localised parts of the Christian tradition whilst seeking an ever closer embrace of the beloved dead, inducing and imploring them to hasten their return so that the deprivations and humiliations of racial inequality might end. In the mean time, the twin organs of white power - Mission and Government - needed to be carefully and cleverly propitiated.
Koriam's Law concerns itself with the contemporary works and cosmological understandings of the Pomio Kivung. Its leaders are keen to show that the movement has nothing to do with 'waiting for cargo'. Rather, its crucial mission is to prepare the way for the coming 'change' and, at the same time, to organise for a better society in the here and now.
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文章来源：新华网云南频道 2009年07月24日 12:32:47
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