八千里路雲和月

:::

1989 / 8月

文‧陳淑美 圖‧凌峰提供


「我是一名法律系的大學女生,生長在台灣安逸的社會,曾經很認真地思考過這一代年輕人的責任,常思索著自己能為國家社會做些什麼?……

 

『八千里路雲和月』是我一直很喜歡的電視節目,每回看完後,有點兒心酸,意識卻愈來愈清醒,尤其是感覺自己真是中國人,和大陸同胞山川等愈來愈接近……。台灣海峽阻隔了兩岸四十幾年,不同的環境,不同的思想,我發現自己對他們的瞭解真的太少太少了,我好羨慕您曾那麼深入地探索他們的生活,真的!

 

我的籍貫是台灣,在大陸上並無親戚;而我的想法是,我希望能夠多去瞭解大陸同胞的思想、生活等,尤其是知識分子、大學生……」

 

這是一名觀眾寫給電視節目「八千里路雲和月」製作單位的一封信,相當程度地反映了不少人觀看這個節目的心情。


從前年九月開始,「八千里路雲和月」就頻頻地在各報影劇版出現,由於它是國內第一部到大陸拍攝、取材的節目,又跑在政府尚未同意的政策之前,一舉一動分外引起關切,真可說是「未演先轟動」。

「八千里路雲和月」到底是什麼型態的節目?

說來十分有趣,雖然該片的製作群——製作兼主持人凌峰、導演梁立基、撰稿詹德茂等人,向來是影視界人眼中擅出綜藝節目賣點的「強將」,但此次老搭檔的再度攜手,卻並未把它界定在綜藝節目的範疇上,「一開始甚至沒有設定該走那種路線」,詹德茂說。

於是從六月二日開播以後,觀眾們看到了這樣的表現形式:

蒙古、哈薩克等地理風情的介紹中,穿插著充滿豐富民族色彩的配樂;偶爾也來段地方性歌舞,也有新聞片慣常見到的現場訪問引出故鄉的奇人異事,而老家的吃食,故都的街頭,家鄉人的喃喃低語……全都納入鏡頭中。「總覺得它和『錦繡河山』之類的旅遊節目不同,似乎多了點人情味,多了些變化」,一名觀眾說。

來自台灣的中國觀點

「我覺得它的親和性很強,說的都是我們聽得懂的話」,在雜誌社工作的一名編輯指出,與外國人拍攝的中國影片相比,「八千里路」選擇的題材,營造的氣氛都多了些中國味。例如到北京大學,製作群會注意到「民以食為天」的北大食堂,找到貼滿大字報的民運發源地「三角地」,並且訪問學生談海峽兩岸的比較。

到四川,尋獲了紅油抄手、擔擔麵的老字號店家,問出今日的辣味與往昔到底有何差別;到松花江畔、上海公園,也注意到在那兒運動和跳舞的老人、小孩,知道北平和哈爾濱街頭彈唱吉他和打撞球的年輕人在想什麼?說什麼流行語?

這些都不是外國人所能感受的。政治大學廣電系講師郭文耀指出,「八千里路」為什麼一播出來,就引起這麼多的注意,很可能就是因為它表現的形式和內容,表達了對土地和人文的關懷,「比起一般的電視節目來說,可以算是很中國了」,十分注意「電視文化」的郭文耀說。

政大新聞研究所教授彭芸也指出,比起一般的地理風光型節目,八千里路雲和月的畫面、配樂、旁白都較為講究,畫面前後的連貫、轉接也都還不錯,可以看出是花了心思的製作;再加上製作群去的地方多,拍的時間久,「基本上有些不錯的材料,炒出來的菜也就不會太壞了」,她說。

大地中國功不可沒

「主要是題材好啦!」詹德茂認為,對於一個地大物博,有五千年歷史的文化古國而言,可做的題材,可說的故事實在太多了。得到各方的好評,他的感受是「努力有了回報」,但卻覺得更多的榮耀,應該歸因給予他們點子與題材的——中國。

中國的山川壯麗,物產富饒,對八千里路製作群來說,可以說是取之不盡、用之不竭的最好素材。對大陸風土向來只能「耳聞」卻無法「親見」的年輕觀眾而言,更是充滿吸引力。

製作群帶著觀眾,一會兒走過具異國氣息的哈薩克草原,一會兒又來到了溫柔婉約的西湖邊上;令人感受到黃帝陵的中原文化震盪,也讓我們在南方都市找到書本上形容的典秀……,當然,令人動容的除了故國山河的瑰麗雄渾外,還有生活在那兒的老鄉。

凌峰指出,每回播出,得到迴響最多的,全是家鄉人物的訪談,而這也是節目的精神所在。他認為,他們是試著用一種比較人性的觀點,來看這片土地,當然其中很難避免是「來自台灣或台北」的觀點,但也因為這樣而顯出它的珍貴。他表示,可能的話,加強訪談等資訊報導,將是「八千里路」的未來重點。

台灣和大陸有啥不同?

什麼是台灣觀點?且看八千里路如何呈現:

台灣和大陸有什麼不同?第一集堙A六年前從台灣到大陸的歌手,也是「龍的傳人」詞、曲的作者侯德健,是這樣回答的:

「來大陸時,我的感覺是並不好受,因為這兒跟台灣非常的不一樣,我看是基本上沒啥一樣的地方,除了長得一樣以外,從吃的到穿的,說的話,心裡想的事兒,全都不一樣。」

到底差別在那兒?侯德健的比喻是交通秩序。「台灣呢,是用紅綠燈去管的,看到紅燈就停,綠燈就走;但大陸呢?就像沒紅綠燈的地方,有一大堆交通警察在那兒站崗,他讓你走才能走,但有時手勢不大明確,臉色不大準確,有時還看不懂,到底是走還是停?」

既然如此,又為何一定到大陸?侯德健表示,作為一個搞文藝的人來說,台灣像一個溫室,很漂亮的一個溫室,溫度、濕度都很好,撒一百顆種子,可以活九十九顆;大陸則是個沙漠,撒一萬顆,也活不了一顆,但關鍵是,在大陸,一旦有一顆種子活了後,它可以隨意地成長,長得又大又高。他要的就是那種大與高的感覺。

或許是這樣的想法,才促使他投入天安門民運中扮演要角吧?!

對李登輝總統的印象

第三集,凌峰他們來到了廣東省國父故居的所在地。製作群的感受是:「這一站,好像不是在出發前訂下的,似乎在很小很小的時候,懂事以後就訂下了。」看著故居中的國父遺像,凌峰不禁道出心中的感觸:「我們像是離家太久的孩子,多年不見慈祥的臉孔,有許多話想說,卻說不出口,有許多委屈想說,又怕負載太多,但是多麼希望您起來,看看這個分裂以後的國家。」

到北京大學,看莘莘學子吃飯,在菜香、飯香四溢,人聲沸騰的北大食堂中,凌峰又有話要說了:「看著這些全國菁英的午餐菜色,實在很難和精緻文化想在一起,因為這兒看不到漂亮的餐具,也沒啥吃的藝術,但在民主未到來之前,總得解決民生問題,其實這兩種對學生來說,一樣是得要求的家常便飯。」

在北大的「三角地」——六四學運最興盛時,貼滿大字報的地方,看著北大學子們,一邊吃飯,一邊看大字報,凌峰的感受是:台北人吃飯配電視,這兒人吃飯配大字報,台北學生為打電動玩具而翹課,這兒的孩子為想讓自己多知道一些而來到這兒。世界之美,差的恐怕就在這「知」而已。

在一段沒有訪問畫面(該名學生堅持不要錄影)的採訪中,凌峰也問到了北大學生對台灣的看法。

「覺得台灣的一切會不會影響到大陸?」他問。

「對大陸來說,台灣的富強與民主化的歷程,當然有助於大陸的改變。」

「對李登輝總統的印象怎樣?」凌峰很好奇。

「我只有看過他在就職演說上的錄像,覺得他很開明,很有見識,很可能為中華民族的富強,走出新的道路」,有人這麼說。

或許這只是部分人的感想,卻也顯現大陸知識分子對民主的渴望。

知識分子的心情

節目中有這麼一段:

如今傳說已避入中共駐美大使館,被中共通緝的天體物理學家方勵之,與他的太太李淑嫻,侯德健與他的妻子程琳,在狹小的客廳中與凌峰一塊暢談中國知識分子的處境、美學、天體物理學與音樂,神色從容自若。

一段南胡演奏過後,程琳這樣形容他的丈夫:「我從來不知道他第二天會闖什麼禍!有什麼新的想法,五年來一直是這樣的。」處理完這一段時,凌峰的感慨是:「生活在中國大陸,要做個人人稱道的好人並不難,只要做到以下兩點:善良而不勇敢,為了作一個漂亮的中國人,客廳中的兩對夫妻顯然都不是『好人』……,我們只能說,作一個中國的知識分子真苦,作個中國知識分子的老婆更苦呀!」

一路聞香到四川,吃完了老字號的紅油抄手、擔擔麵,在驚嘆師傅手藝之好,見識到女師傅一手緊握七隻大碗上桌的絕活之後,凌峰聯想到的是:唯有老牌子的老店才有了這樣的「文化」,而歷經戰亂與西方文化的衝擊的中國也是一樣呀!

「放眼世界,咱們中國也是個老字號,老招牌的大店,想要光大祖產,又怕它再老下去,難以維持;想要聽聽別人的意見,換一換門面,往新的方向走,又怕它失了原味,不像中國。許多年了,問題還在,倒是掌櫃的,都已換了好幾個了。」

更長的八千里路

彭芸教授指出,若是從提供資訊的角度來看,「八千里路雲和月」的節目中,凌峰的訪談過程、問話技巧,乃至取樣的代表性及其引申,都不太合乎新聞學原則;但由於它是娛樂節目的性質,如目前一段風情介紹後加一段訪談的處理方式,在目前綜藝節目的型態中,亦未嘗不是一條新路。

彭芸指出,「八千里路」的風格目前已被普遍接受了。

彭芸並不贊成製作單位再做太大的改變。但她認為,未來的八千里路,若要提供更多的資訊報導,則須加強更有廣度及深度的訪談,如此才可將節目從entertainment(娛樂)的層次,提昇到infortainment(娛樂資訊)的層次。

經常關心媒體運作的一名資深記者指出,目前的情況是,大家對大陸資訊太饑渴了,因此只要是稍為可看的大陸題材節目,就教人矚目,也教人對它有更多的期待。

由於節目受歡迎,電視公司要求製作單位增加播出集數和時間,這對他們而言,是一種肯定,也是一種壓力。需要大量時間、人力、心力才能完成的節目,能在這種壓力下保持品質和水準嗎?

播出了兩個月,不可否認,「八千里路雲和月」已成為「值得一看」的節目,它如何能滿足大家愈來愈多的期待,則是它將面臨的更大考驗。

〔圖片說明〕

P.50

(左)走遍大江南北,越過春夏秋冬,工作群走了何止八千里路?!

P.51

(右)通俗節目,但做得不俗,凌峰這樣形容他的節目。(張良綱攝)

P.52

北平天安門前的學生們爭看製作群錄好的帶子。

P.52

從開放探親到湄州媽祖回娘家,「八千里路雲和月」不讓歷史留白。圖為福建的湄州媽祖廟。

P.53

台籍老兵也是「八千里路」報導的重點。

P.53

油條、燒餅、豆漿和老鄉,故鄉的街頭鴻爪,就是現成的好題材。

P.54

台北北投一家優雅的茶藝館,是製作群錄片頭和片尾的地方。(張良綱攝)。

P.54

「八千里路雲和月」說的是「台灣人」的「大陸觀」(張良綱攝)。

P.55

凌峰和出資人——威京投資開發公司總裁沈慶京的結合,促成了「八千里路雲和月」的誕生。(張良綱攝)

相關文章

近期文章

EN

Eight Thousand Miles

Jackie Chen /photos courtesy of Ling Feng /tr. by Michael Tai

"I'm a law student, and was born and raised in the peace and prosperity of Taiwan. I enjoy watching 'Eight Thousand Miles' very much. I always feel a little sad watching the program. It makes me more aware of my Chinese identity and also reduces the distance I feel toward people on the mainland I've often thought about the responsibility of my generation toward China, and asked myself what I can do for my country. Forty years of separation between Taiwan and the mainland has led to enormous differences between the two areas. I must admit that my understanding of the mainland is much too superficial. Taiwan is my home and I have no relatives on the mainland But I want to know more about the mainland, the people, their thoughts, their lives and especially about the intellectuals and students. . . .

This letter was written by a law student to the production team of "Eight Thousand Miles," and it reflects the response of many of the viewers of the documentary series on mainland China.


Since September 1987, "Eight Thousand Miles" has received a great deal of media coverage. It is not only the first Taiwan television series shot on location on the mainland, but shooting actually began before official ROC approval to shoot on the mainland. Therefore, there has been much controversy surrounding the series.

The program host, Ling Feng; the director, Liang Li-ji; and the film editor, Jan Temau, are all distinguished figures in the Taiwan film industry.

Just what kind of television series is "Eight Thousand Miles"? According to Jan Te-mau, the creators of the series scrupulously avoided labeling the series. "Eight Thousand Miles" interweaves shots of the vast Mongolian landscape and mysterious Lhasa, with scenes of folk dances and villagers in exotic ethnic costumes. There are also news clips and interviews of people on the streets. This mixture creates a kaleidoscope of life and landscape on the mainland, making "Eight Thousand Miles" much more than a travelog.

"There is a sense of familiarity in the series. The language used is one that we understand," commented a magazine editor. "Eight Thousand Miles" is China seen through Chinese eyes. The crew interviewed Peking University students, asking them about the unification problem. In Szechwan, the crew shot scenes of old noodle restaurants and recorded mundane conversations about the dish of the day. They filmed children playing and dancing in a Shanghai park and youths playing the guitar on street corners and shooting pool in billiard halls. What are their thoughts? What do they talk about?

Professor Kuo Wen-yau of National Chengchih University comments, "The reason 'Eight Thousand Miles' has received such good reviews from the public is it is produced with a good measure of love for the country and its people. Love that only a Chinese could feel because it is his own motherland."

Peng Yun, a professor of journalism at Chengchi University, pointed out, "Evidently, much more work and care has been put into the production of 'Eight Thousand Miles' than the usual travelog. The production crew also covered a lot more territory. Obviously, if you have high quality input, you are likely to get a high quality product."

"We had a first-class subject," shrugged Jan Te-mau when asked about the success of the series. "More credit should go to the land of China itself," he added modestly. The series has been especially exciting for the younger Taiwan-born generation which had until recently only been able to hear and read about the mainland.

Besides the vast range of landscape of a country as large as China, a great deal of footage was devoted to interviews with the person on the street. In order for the interviews to speak for themselves, no critique was applied before or after the interviews.

The singer Hou Teh-chien first went to the mainland six years ago. When asked about the difference between Taiwan and the mainland, he said, "Other than the fact that we look alike, we have little in common. The food, the clothes, the words we use and our thoughts are all significantly different. In Taiwan, we drive when the lights turn green and stop when they turn red. On the mainland, traffic is controlled by traffic policemen. However, their hands signals are sometimes so unclear that one doesn't quite know if it's time to start or stop."

"Taiwan is like a greenhouse. Sow a hundred seeds and you will get 99 seedlings. The mainland is like a desert; sow 10,000 seeds and you may not even get one seedling. But in Taiwan the seedling can only grow as high as the greenhouse. On the mainland, the sky's the limit. That's what I like about the mainland."

During an unscheduled stop in the birthplace of Dr. Sun Yat-sen in Kwangtung Province, Ling Feng stood wistfully in front of a huge picture of Dr. Sun. Ling Feng spoke a soft prayer, "We feel like children who have left home for too long. We have so many things to say, but somehow just seem unable to say them. We have so many hurts to voice and wish you could rise up and look at this divided country."

At the height of the Democracy Movement, students stood reading big character posters while eating their lunch. In Taiwan, people watch television over lunch. When asked if Taiwan has any influence on mainland China, a student answered, "Taiwan's wealth and its progress toward greater democracy certainly has an impact on developments on the mainland." When asked what he thought of President Lee Teng-hui, he answered, "I've only seen a video recording of his inaugural address. He seems like an open and knowledgeable man. He will probably lead the people to new levels of prosperity."

In a small living room in Peking, Ling Feng chatted with dissident Fang Li-chih, his wife, and Hou Teh-chien and his wife about Chinese intellectuals. They said that to pass as "good" people in China, you had to be kind but not courageous. The two women stated that life was hard for Chinese intellectuals, but even harder for their wives!

Professor Peng Yun points out that although Ling Feng's interview technique in "Eight Thousand Miles" does not really conform to journalistic principles, it is acceptable because "Eight Thousand Miles" is more an entertainment program than a news program. She suggests, however, that such documentaries should include more indepth reporting in future.

In the current wave of curiosity over the mainland, any kind of mainland coverage is likely to receive good viewer ratings. But with time, viewers' expectations of the programming quality will certainly increase. After two months of programming, "Eight Thousand Miles" has unquestionably become a milestone in Taiwanese television programming. The network station has asked the production team for additional episodes. While this represents affirmation of the team's work, it also means more production pressure. One wonders if work that requires such a great deal of time, effort, talent and creativity can be produced under pressure?

[Picture Caption]

(Left) North, south, east, and west; spring, summer, fall, and winter: the crew probably have done more than 8000 miles!

(Right) A show about common things, uncommonly done" is how Ling Feng describes his program. (photo by Vincent Chang)

"Eight Thousand Miles" fills in the spaces of history. The photo is of the Temple of Matsu in Meichou, Fukien Province.

Students in Peking's Tienanmen Square struggle for a look at the completed film.

Old soldiers from Taiwan caught in the mainland since 1949 were the subject of an "Eight Thousand Miles" report.

Deep-fried twisted crullers, flat sesame pancakes, soybean milk and vignettes of dally life are all good materials.

You can say "Eight Thousand Miles" is Taiwan's "window on the mainland." (photo by Vincent Chang)

This teahouse in Peitou, a Taipei suburb, is the setting for the credits. (photo by Vincent Chang)

The bringing together of Ling Feng and financial backer Tony C.J. Sheen, president of the Super King's Investment and Development Company, led to the birth of "Eight Thousand Miles." (photo by Vincent Chang)

 

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