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研究生院Ph.D申请：最有感染力的个人陈述

（为帮助学生、尤其是家长朋友们更好理解欣赏原文，本文提供中文参考译文）

　　　　　　　　　　　　Personal Statement
　　　　　　　"Film-Making is a Matter of Life and Death"

Applicant：XXX (China Media University)

Program： PhD/Master's in Film Production

Film-Making is a Matter of Death
In 20XX, I participated in producing two documentaries in Tibet, known as the ridge of the world. At an altitude of 4500 meters above the sea level and in dire coldness, we shot pictures at the celebrated Kekexili Natural Preservation Zone where Tibetan antelopes, already an endangered species, are unscrupulously hunted and their fur smuggled to Europe to make the world’s lightest, most expensive, yet the warmest scarves. Serious altitude reactions soon assaulted me, and I was diagnosed as suffering from encephaledema, fatal under many circumstances. However, in two days I was on another mission, doing a documentary of the Yalu Tsangbo River Valley. According to the plan, the expedition was to take 4 days but the pristine harsh conditions made the plan impossible. It was raining and there were landslides. In my physical exhaustion, the camera became heavier and heavier in my hand. The 4-day expedition was extended into a week and in the last two days we were virtually on the verge of starvation. When we did return to civilizations, we came up with two greatest documentaries of the year about two unpopulated but the most shockingly beautiful places of the country. Film-making is a life-consuming mission and true film-making is born out of a readiness to sacrifice life.

Film-Making is a Matter of Life
However, film-making can also be life-giving, with its unparalleled visual power. In the summer of 20XX, together with 7 classmates, I went on the “Western Sunshine Campaign”, a voluntary program, in a village in the western province of Shaanxi. It was one of the poorest villages in China, with less than 40 U.S. dollars of per capita annual income. The village school was taught by a farmer almost as illiterate as the kids themselves. We took over the teaching and I became an English teacher. In addition, I was responsible for showing films two times a week with the moveable projector we brought with us. I made a documentary of the event, which was distributed by China 21st-Century Education Development Research Institute to be shown at 30 major universities in the country and in the Travel Channel. China Central Television (CCTV) and several major print media also covered our voluntary project and the village itself. When I returned to the village for a revisit this year, it is almost completely changed—there is booming tourism, running water, electricity. With the money earned, the village kids can afford education in a standard township school dozens of miles away. Undoubtedly, they will have a different destiny from that of their parents. My belief in the power of pictures as a destiny changer grew into a conviction.

Film-Making is a Matter of Intrepid Subjectivity in Search for Truth
“Are there prostitutes in China?” asked an American journalist when interviewing Zhou En-lai, China’s former premier, in the wake of the U.S. and China’s normalizing of diplomatic relations in 1979. “Yes, in Taiwan” was the answer. Now, even after several decades, the government authorities still deny prostitution in a country under the communist rule when prostitution is actually a known secret. Remembering the ideal of film-making as impartial observation and documentation, I did a documentary of the red light districts in China as a course project. I believe film-makers should combine two essential qualities—innocence and sophistication. The innocence should lead you to spontaneously articulate what you observe, like the little child about the Emperor’s new dress. The sophistication requires you to think independently and profoundly about all the diverse and complicated social phenomena, exercise your judgment, and discriminate between what things appear to be or what people claim and what things actually are. At the same time, you must be prepared to meet risks for voicing your political and social dissent, for the sake of being true to your observing eyes, your independent mind, and your thinking heart. The truth is located in your intrepid subjectivity.

Film-Making is a Matter of Intellectual Odyssey
I started my intellectual odyssey in film-making with my undergraduate program in TV Directing at the Art Department of School of Film and Television, Communication University of China. My academic background at the most prestigious TV and film institution is particularly geared to your program in film production as both TV and film essentially appeal to the audience through visual and audio vocabulary. Many accomplished film-makers in present-day China and Hong Kong who have won international awards in film production, like Xiaogang Feng, Kar-wai Wang and John Woo, commenced their career with TV directing. Their success stories illustrate how I can also achieve a potential success in film-making.

Academically, I have done systematic coursework in directing and production—my GPA of 85.2/100 points to my very positive academic performance. In particular, I have achieved highest scores for all the courses that require a high level of creativity—Documentary Creation, Literary Creation, Multimedia Creation, and Radio Show Creation—in which I have had ample liberty to allow my imagination to soar, producing only what I deem to be the best and the most original with the limited time and cost. In my practices both on and off the campus, I have assumed various roles as director, cameraman, scenarist, editor, coordinator, correspondent, and even actor. My productions involve MV, mini-drama, experimental pieces, documentaries, travelogues, commercials, radio shows. My greatest campus achievements are working as general director of the 10th Drama Evening (the climax of the Student Art Festival in 2005 that attracted over 2000 audience), organizer and director of the video show of the creative works by different classes, the organizer of the First VVLOG Mobile Phone Video Show featuring 300 participating works from over a dozen universities in Beijing, chairman of the University DV Society, the first and the largest of its kind on the campus. Some of my works have won major prizes in national or intercollegiate competitions and have been shows on leading electronic media like CCTV.

Through my own initiative, I have been pretty much involved in the country’s TV industry. I have been the editor and photographer of the “Traveler Program” of China Travel Channel whose style and operations are akin to DISCOVERY. As an interning director of the premier talk show program “A Date with Lu Yu” at Phoenix Satellite Television, I learned how to control the narrative structure and rhythm in two programs produced. Finally, I am a partner of the Personal Video Studio which is devoted to producing commercials for local corporate organizations. My intellectual pursuit consists of tremendous diversity, which should be viewed as comprehensive preparations for a film-making career.

Film-Making is a Matter of Making a Choice
In recent years, leading Chinese film directors are making their way into the international arena by producing films with international capital. While creating box-office records and even winning international awards, almost all of them have received sharp criticisms by the Chinese audience for excessive concern with the merely ostensible rather than the real world. I believe film-making is a serious art of social significance. It is about human values, about cathartic human experiences like my voluntary service at the impoverished village, about a unique way of perceiving and representing the world, about articulating genuine ideas through visual images, and about setting the audience thinking and changing our world. This is how I understand about film-making and how I would pursue my future film-making career.

Film-Making is a Matter of Learning from the Best
I am determined to live and die for film-making, therefore I am determined to seek excellence in the profession by seeking the MFA program at x x x University’s Department of Film and Media Arts. As the foremost program in alternative film and video, your program is a creative laboratory for producing works of social significance and artistic merit and seeks to produce graduates who challenge the current practices of Hollywood and commercial television. Such ideals are closely geared to my artistic temperament and outlook. I am particularly excited over the fact that your program encourages openness to all media art forms, with special emphasis on contemporary documentary, independent narrative, and works arising out of both an artistic and social consciousness. I am convinced that this is the program I am looking for and, vice versa, I am the kind of candidate that your program is looking for.

　　　　　　　　个人陈述

　　　　　　电影制作，攸关生死

申请人: XXX (中国传媒大学)
申请项目：NYU电影制作硕博课程

电影制作关乎死

20XX年，我前往世界屋脊西藏，参与了两部纪录片的摄制。在海拔4500米的凛冽寒风中，我们拍摄著名的可可西里自然保护区：那里的藏羚羊濒临灭绝，但人们还是毫无顾忌地肆意猎杀，获取它们的皮毛并将其运往欧洲，制作成为世界上最轻但最昂贵、最柔软的披肩。不久，我便遭受了严重的高原反应，被确诊为脑水肿，在高原环境下命在旦夕。但是两天以后，我又接到了另一个任务，前往雅鲁藏布江峡谷进行纪录片拍摄。根据计划，我们的行程会持续四天，但极度严酷的条件使完成此目标失去了可能。天下大雨，发生了好几处山体滑坡。我精疲力竭，手中的摄像机越来越沉重。原本四天的行程耗费了整整一个星期，最后两天，我们实际上已处在极度饥饿之中。当我们返回文明世界的时候，我们带回了两部当年最佳纪录片——人迹罕至，却是美得让人惊艳的西藏独特风光。电影制作是一项可以耗竭生命的事业，而真正的电影制作则需要时刻准备着去为之献身。

电影制作关乎生

但凭借其无可比拟的视觉力量，电影也能赋予他人生命。20XX年的夏天，我与其他七名同班同学结伴，参与了“西部阳光计划”。此计划是一个志愿者项目，目的是深入中国西部陕西省的一个偏远村落进行支教。这个小村子是中国最为贫困的村庄之一，人均年收入不超过40美元，村子里小学生的唯一老师是一位农民，学问并不比孩子们高多少。我们接替了他的工作，而我个人成了孩子们的英语老师。另外，我还负责每周两次用随身携带的仪器为孩子们放映电影。我制作了一部纪录片，其被中国21世纪教育发展研究中心分发到全国30所重点院校，同时也在旅游频道上放映。中央电视台（CCTV）以及几家主要报纸都对我们的项目和这个村庄进行了报道。当今年回访这个村子时，我发现这个村子完全变了样——旅游业兴起，大家都喝上了自来水，用上了电。因为收入的提高，这些村子里的孩子能够去几十里外的正规学校上课。无疑，他们的未来将不同于他们的父辈。电影的画面可以改变人的命运，我的这个想法变成了我的信念。

电影制作关乎无畏的主体性对真相之探寻

“中国有色情业吗？”在中美刚刚建交之后，据说一名美国记者这么问中国的一位领导人。这位领导人巧妙地答道：“有，在台湾。” 然而，即使在数十年后的今天，中国官方也很少正视作为一个社会主义国家内所存在的色情行业，虽然它现在已经成为了一个公开的秘密。我始终坚信，电影的制作就是不偏不倚的观察与记录，于是我制作了一部关于真实的中国红灯区纪录片，以此作为我的一项课堂作业。我认为电影制作人应该同时兼备两种品质：单纯和深邃。单纯会使他见到什么就表达什么，如同《皇帝的新衣》中那个纯真的孩子。深邃则需要他独立而深刻地思索社会上各种繁杂的现象，锻炼自己的判断能力，从事物的表面以及他人所作的宣称中，分辨出事物的本来面目。同时，要做到对自己探索的双眼、独立的头脑和思考的心灵保持真诚。为此，他就需要准备着，在发表自己不同意见和社会主张时遭遇各种危险。

电影制作关乎一次漫长的知性历程

在中国传媒大学电影与电视学院的艺术系里，我本科阶段的电视导演学位课程标志着我漫长知性历程的起点。在这所中国最为著名的影视院校里，我所具有的学术背景与贵校电影制作的硕士项目契合紧密，因为电视与电影都是通过视觉与听觉语言给观众以展现。今天许多著名的中国大陆与香港电影人都从电视导演做起，如冯小刚，王家卫和吴宇森，他们获得了无数的国际奖项。他们的成功经历告诉我，我在电影制作方面也有获得成功的无限可能性。

从学术上讲，我接受了导演电影与制作方面的系统课程教学——与我非常积极主动的课堂表现交相辉映的是我85.2/100的综合成绩。特别是在那些极需创造力的课程中，我都获得了极高的分数——纪录片创作，文学创作，多媒体创作，以及无线电演播创作。在这些科目中我有充分的自由让我的想象力展翅高飞，用有限的时间和资金创作出了我个人认为最好、最有原创性的电影。在我校内校外的实践中，我担任过各种职位：导演，摄像，布景，编辑，合作，通信，甚至演员。我的作品包括MV，小型戏剧，实验片段，纪录片，旅行游记，商业片，电台广播等。我在校园生活中取得的最突出成就包括：作为第十届戏剧晚会的总编导（这次晚会是20XX年学生艺术节的高潮，吸引了超过2000名观众），各班创意电影展示的组织者和导演，首届VVLOG移动视频电话展示影象节总策划（其中北京数十所高校超过300个作品参赛），学校首个也是最大的社团—DV社团—的主席。我的一些作品赢得了全国和各大学的重要奖项，在包括CCTV在内的各种媒体上均得到播放。

通过自主努力，我已经参与到了中国电视节目产业之中。我已经成为了中国旅游频道的编辑和摄像师，这个频道的风格和运作模式与美国的《探索》频道非常相似。在凤凰卫视《鲁豫有约》的两期节目中我曾担任实习导演，这让我更加纯熟的把握了叙述结构和节奏。最后，作为私人影音工作室的合伙人，我还为当地的企业组织制作商业宣传片。我在知识上的追求包括许多方面，这个可以看作是我为将来电影制作生涯所做出的全方位准备。

电影制作关乎某种抉择

近年来，中国领头电影人纷纷吸引国际资本，创作电影并角逐国际市场。在他们不断创造新的票房纪录甚至赢得许多国际奖项的同时，他们几乎所有影片都遭到了中国观众的猛烈抨击，指责他们只在乎表层的华丽而忽视了世界的真实。我相信电影制作时是一项严肃的艺术，有着非凡的社会重要性。它事关人类的价值观，事关人类有益的经历——就像是我在贫困山区做义务贡献那样，事关对世界独特的观察与呈现，事关通过视觉图像传递真实的想法，最后它关系到启发观众，进而让他们改造世界。这就是我如何理解电影制作，以及我将如何追寻我的电影制作生涯的。

电影制作关乎师从于最优者

我已经下定了决心，为电影而生，为电影而死。因此，为实现事业上的精湛，我也决心申请贵校电影与媒体艺术系的MFA研究生。贵系的电影与视频项目当属此领域的权威，您的项目为学生们提供了一个实验平台，让他们制作有社会深度和艺术魅力的电影，挑战当今的好莱坞及其他商业电视。贵系的这些理念都与我的艺术涵养与本质项符合。令我非常兴奋的是，贵系的研究生项目鼓励一切媒体艺术形式，而同时特别青睐当代纪录片，独立叙事，以及从艺术和社会觉悟中产生的作品。我相信，这个项目就是我所寻找的项目；换句话说，我也是您项目需找的最佳人选。

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