On October 27, Jiao Bo returned to his hometown of Tianjin Bay West Village, Yuanquan Town, Boshan District, Zibo City, and held a "China Tianjin Bay Rural Image Collection".
Jiao Bo is the former artistic director of the photo library of the State Council Information Office, a photographer and documentary filmmaker. He spent 30 years filming "Daddy and Daddy". After that, he began to shoot rural documentaries, publishing works such as "China in the Countryside", "Out of the Mountains", "Taobao Village" and so on. Because of his long-term focus on the countryside and farmers, Jiao Bo is often called "farmer director".
On the 28th, Qilu Evening News Qilu OnePoint reporter interviewed Jiao Bo and listened to him tell the story behind the lens.
Jo bo
<b>Qilu Evening News Qilu One Point Reporter: How did you first get involved with photography? </b>
<b>Jiao Bo:</b> When I was a child, my family was not rich, and I was very envious of other people's family portraits. Later, I took the first picture of my parents and began my path of photography. Parents get older and one day they have to leave this world. I thought, with a camera, only the lens can retain the memory. Then I grabbed the time to shoot, leaving 12,000 photos and more than 800 hours of video footage.
In 1998, my father was 84 and my mother was 86. I want to do a film festival in their lifetime, the theme is called "Daddy and Mother", and it will be held at the National Art Museum of China.
Father said that climbing should also climb to Beijing, cut the ribbon for you, and I will finish it in this life. Li Niang came to Beijing with a hanging bottle, and I carried Li Niang down from the train.
The next day, my father and mother cut the ribbon for me with scissors she had brought from home. This moment may have cut the hearts of the children of the whole country, and I feel that I am not showing my father and mother, but everyone's father.
<b>Qilu Evening News Qilu One Point Reporter: You</b> <b>took more than 10,000 photos</b> for your father <b>and mother, and</b> <b>touched countless children. As a recorder and witness,</b> <b>what is the image that moved you the most</b><b></b><b>? </b>
<b>Jiao Bo:</b> Of course, I like all the photos, but the picture of my father kissing my mother still made me particularly moved.
In 1999, my mother fell seriously ill and was hospitalized in the hospital. On the first day of the New Year, my father went to see her and wiped his tears when he entered the door. He said it was the first time we had been married for more than 60 years and not been together for the New Year.
My mother was critically ill, and my father said, I used to have a temper with her, sorry for her, at least take her home, I will serve her for a few days.
I took pictures of my mother for more than 20 years, and I thought I would have to leave my mother with her last picture in the world. At this time, the father walked up to her and said to try her body temperature. He walked slowly over to my mother, curled up on his knees, and leaned down.
I felt like something was going to happen. I knelt on the ground and pressed the shutter three times in a row and recorded it. Father never said "I was wrong" or "I love you." But in a modern way, he kissed my mother and said goodbye to her.
As a result, when the sun rose the next day, the sun came through the window and I saw my mother's hand moving. She miraculously survived again, and lived another 5 years until her death.
<b>Qilu Evening News Qilu One-Point Reporter: In the documentary of "Daddy and Lady"</b><b></b><b>, the</b> <b>image of the father is very special</b><b>. </b> What kind <b>of</b> character is he <b>in your mind</b><b>? </b>
<b>Jiao Bo:</b> My father didn't read more, he only went to private school for four years. An Analects, which he memorized. People say that half of the Analects rule the world, but I think he is a "Analects" that governs his whole life, and he is a man of great wisdom.
When I was 12 years old, I followed him to a big saw. The big saw learned it early in the morning, but he let me pull for a summer vacation. My father said something, not three years to learn to pull a big saw, but three years to let you understand a truth, the big saw to see and pull.
In fact, these ordinary labor writers are telling earth-shattering truths. That's why I say that Daddy is a book, a book of the original education of children, a book that children can never finish.
<b>Qilu Evening News Qilu One Point Reporter:</b> <b>About Daddy has recorded so much, are there any regrets? </b>
<b>Jiao Bo:</b> The regret is that I didn't record more, and I didn't give my parents more care in life.
<b>Qilu Evening News Qilu One Point Reporter:</b> <b>You</b> <b>have left the countryside, why have you been focusing on rural themes in photography for a long time</b><b>? </b>
<b>Jiao Bo:</b> My father and mother are farmers, and I have been photographing them for 30 years, and I deeply understand the farmers represented by them. So while photographing them, I also photographed my fellow villagers, expanding the field on a larger scale.
Running the countryside like this, I ran out of an emotion, a feeling. I want to write a history for the countryside and a biography for the peasants.
Daddy is gone, but Daddy's "Daddy", that is, rural China, will always exist. Our roots are in the countryside. I told the students that maybe one day I would fall on the ground and I would stop working.
<b>Qilu Evening News Qilu One Point Reporter: In order to shoot a documentary, how long do you and the team usually stay in the village? </b>
<b>Jiao Bo:</b> Usually I make a documentary for more than 365 days, and some even two or three years. Every day in the village with the people living under one roof, in order to shoot the most real and grounded scenes.
Like "China in the Countryside", we filmed Du Shenzhong and his wife arguing. You see that the two of them will quarrel, not a single dirty word, the public says that the wife is reasonable, and everyone evaluates that they are the most quarrelsome couple in China.
One day, Du Shenzhong went to the grave. He pointed to a grave and said, Teacher Jiao, this is the grave of my father and mother. I said, let's get down on our knees and kowtow to the old man. He was impressed. He said, "I don't like land at all, I just have no choice, there is no way, land does not support people." "I felt particularly shocked. Farmers' dislike of land is a big problem.
Chinese New Year's Eve New Year's Day, he cleaned up his home and sorted out some articles that had not been published in the past. He felt it and told the child that if he didn't like the land, he should study hard.
A documentary is a subject that the filmmaker and the filmee work together to complete. Because of mutual trust, this work was finally achieved.
<b>Qilu Evening News Qilu One Point Reporter:</b> <b>When shooting a documentary,</b><b></b> <b>how do you choose the subject? </b>
<b>Jiao Bo:</b> I have been a teacher and a journalist for many years, and I have a relatively accurate grasp of policy, land, farmers, and who are suitable for image expression.
I think our team is good. My age and practical experience, coupled with the fact that their young people have modern means of communication and the idea of shooting techniques, the two can be well combined.
When I first went to Du Shenzhong's house, he was writing on the ground when I first went to du Shenzhong's house. I said, bro, how do you write here? He said that the beam of light coming in from the doorway was projected onto the ground, and the huge light and shadow were a very good piece of rice paper in my eyes. He said that whenever he splashed ink, any difficulty, any helplessness, including his wife's endless nagging, all disappeared, and his whole body was immersed in the enjoyment of this light and shadow.
Are you saying he's an ordinary farmer? No. That's the image of the farmer I want to show. Instead of facing the loess all day with his back to the sky, he has cultural pursuits and ideal pursuits. This is the direction of peasant development.
<b>Qilu Evening News Qilu One-Point Reporter: In "China in the Countryside", what do you most want to express? </b>
<b>Jiao Bo:</b> I don't think the theme is very single. Why is it called "China in the Countryside"? I think that every village has a shadow of China, and every village can reflect the face of China. Therefore, Bai Yansong commented that in the face of greatEr China, they chose a small village. Documentaries are more cinematic than films, but the requirements are really rooted in the land.
<b>Qilu Evening News Qilu One Point Reporter:</b> <b>Why did you choose to take several children you photographed as apprentices? </b>
<b>Jiao Bo:</b> In 2008, the Wenchuan earthquake. When I faced the disaster, I thought that my happiness was brought by my father, but they did not have a father. I wanted to graft the love of my father and mother onto them, so I took in 6 children and taught them photography, hoping to get them out of the shadows as soon as possible, to open up their world, and to let them grow up as soon as possible. Now, some of them are in graduate school, some have become directors, and they have won awards. Later, I went to other places to shoot and also took apprentices. I think it is better to teach people to fish than to teach people to fish.
<b>Qilu Evening News Qilu One Point Reporter:</b> <b>If you make a segment of your relationship with the image, how would you define it? </b>
<b>Jiao Bo:</b> I think the first stage is the desire for images. When we were in middle school, we read magazines, and the portraits on the covers were particularly good. Every time the magazine arrived, I took the photographs apart and pressed them specifically into the book; the second stage was possession. In 1972, I fell in love with my lover, when my father-in-law had a camera. Later, I went to the education department and got a public camera. After becoming a photojournalist, you will be able to realize the dream of owning a camera; the third stage is hard work. In photography, I have more heart than others and experience the voice of the people; the fourth stage is searching. Looking for things in detail, video works speak in detail; the fifth stage is success. That is, in 1998, the film festival "Daddy and Lady" was held at the National Art Museum of China; another one was transformation. From being a photojournalist, to realizing your own film dreams. Photography and film are two ways of expression. Photography is interpreted from a static moment. Film is expressed in the details of the story, it is fluid and developing.
<b>Qilu Evening News Qilu One Point Reporter</b><b>:</b> What <b>are</b> the new shooting themes <b>in the next step</b><b>? </b>
<b>Jiao Bo:</b> I also have to keep recording the countryside. Farmers grow crops in the land, we grow stories in the land. I will continue to record the process of rural revitalization in my lens, which is a great thing, and I strive to do it well.
In addition, I want to do a good job in the image collection, hoping that this large collection can gather the great achievements of rural images in the world. If possible, I would like to make a rural image museum in the future.
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