本文轉(zhuǎn)自：演導(dǎo)女

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做了十多年的策展工作才知道我在做的事情是值得分享和討論的。如果你對(duì)電影策展或影像放映實(shí)踐感興趣，也許可以一起組團(tuán)投稿，今年夏天在泰國(guó)見面。期待更多來自中國(guó)的獨(dú)立策展人一起交流！

繼亞洲電影策展人與選片人協(xié)會(huì)（Association for Curators and Programmers of Asian Cinemas，簡(jiǎn)稱 ACPAC）在 2025 年于新加坡亞洲電影檔案館（Asian Film Archive）成功舉辦啟動(dòng)研討會(huì)之后，ACPAC 很高興宣布其第二屆年度會(huì)議即將舉行。

本屆會(huì)議將由泰國(guó)電影檔案館（Thai Film Archive）主辦，并將于 2026 年 6 月 19 日至 20 日舉行。ACPAC 現(xiàn)面向公眾征集本屆會(huì)議的發(fā)言提案。本次會(huì)議將探討電影策展與放映實(shí)踐中的“去殖民化”（decoloniality）問題，并特別關(guān)注亞洲電影的語境。

盡管近年來電影領(lǐng)域?qū)Α叭ブ趁窕钡年P(guān)注不斷增加，但相關(guān)討論往往仍停留在較為抽象的層面，對(duì)于這一理念如何在電影實(shí)踐與電影產(chǎn)業(yè)中具體體現(xiàn)，關(guān)注仍然有限。與此同時(shí)，殖民歷史遺產(chǎn)、市場(chǎng)壓力以及制度層級(jí)結(jié)構(gòu)仍在持續(xù)影響著哪些電影被重視、被保存、能夠被觀看以及如何被傳播。

這些力量塑造著電影史的書寫、經(jīng)典體系（canon）、文化遺產(chǎn)實(shí)踐以及影像的流通網(wǎng)絡(luò)，并往往在無形中再生產(chǎn)排他性的敘事結(jié)構(gòu)以及對(duì)文化資源的不平等獲取。

Following the successful launch symposium of the Association for Curators and Programmers of Asian Cinemas (ACPAC), hosted by the Asian Film Archive in Singapore in 2025, ACPAC is pleased to announce its second Annual Conference.

The conference will be hosted by the Thai Film Archive and will take place on 19–20 June 2026. ACPAC now invites proposals for this second conference, which will explore the decoloniality of film curation and programming, with a particular focus on Asian cinemas.

Although awareness of decolonisation in cinema has grown, it is still often discussed in abstract terms, with limited attention to how it is enacted in film practice and the film industry. Colonial legacies, market pressures, and institutional hierarchies continue to shape which films are valued, preserved, accessible, and circulated. These forces influence film histories, canons, heritage practices, and circulation networks, often reproducing exclusionary narratives and unequal access to cultural resources.

ACPAC 認(rèn)為，電影策展人與放映策劃人在電影去殖民化過程中扮演著不可替代卻往往被忽視的角色。本次會(huì)議希望探討 ：電影策展與放映策劃如何能夠成為真正具有去殖民意義的實(shí)踐？當(dāng)電影項(xiàng)目挑戰(zhàn)主導(dǎo)敘事以及以利潤(rùn)為導(dǎo)向的文化體系時(shí)，它們能夠創(chuàng)造出怎樣的知識(shí)生產(chǎn)方式、觀看方式以及新的關(guān)系網(wǎng)絡(luò)？哪些聲音被放大，又有哪些聲音依然處于邊緣？在具體實(shí)踐中，日常的策展決策又如何能夠?qū)辜扔械闹鲗?dǎo)框架？

ACPAC 并不將“去殖民化”視為一個(gè)寬泛的主題或流行概念。相反，我們希望聚焦于電影策展人、放映策劃人以及從事類似策展工作的實(shí)踐者在現(xiàn)實(shí)情境中的具體勞動(dòng)與經(jīng)驗(yàn)——他們始終在真實(shí)的政治、經(jīng)濟(jì)與制度限制之下開展工作。去殖民化的實(shí)踐，往往正是在關(guān)于可及性、關(guān)懷、合作、勞動(dòng)以及責(zé)任機(jī)制等日常決策之中逐漸形成的。

同時(shí) ，國(guó)際視聽檔案協(xié)會(huì)協(xié)調(diào)委員會(huì)（Co-ordinating Council of Audiovisual Archives Associations）長(zhǎng)期倡議的“后殖民歸還”（post-colonial repatriation）政策也值得進(jìn)一步審視：這些歸還實(shí)踐在多大程度上真正促進(jìn)了影像材料在全球 南方地區(qū)的可及性與放映機(jī)會(huì)？這一問題仍需要被認(rèn)真檢視與討論。

ACPAC recognises that film curators and programmers play an irreplaceable yet often unacknowledged role in the decolonisation of cinema. This conference asks how film curation and programming can function as genuinely decolonial practices. What kinds of knowledge, ways of watching, and relationships can film programmes create when they challenge dominant narratives and profit-driven cultural systems? Whose voices are amplified, and whose remain marginal? How can everyday curatorial decisions resist dominant frameworks in practice?

ACPAC does not treat decolonisation as a broad theme or buzzword. Instead, we foreground the practical, lived work of film curators, programmers, and those working in equivalent curatorial roles, operating within real political, economic, and institutional constraints. Decolonial practice emerges through everyday decisions about access, care, collaboration, labour, and accountability. The long-standing policies of post-colonial repatriation, advocated and called for by the Co-ordinating Council of Audiovisual Archives Associations, should be examined and questioned as to actually how successful attempts to repatriate have been in enabling accessibility and the screening of materials in the Global South.

因此，我們誠邀提交能夠反思具體策展實(shí)踐、經(jīng)驗(yàn)與策略的提案——包括在電影策展與放映策劃過程中，通過各種行動(dòng)、協(xié)商，甚至失敗，使去殖民化的方法得以被實(shí)踐、重新想象、被質(zhì)疑或被妥協(xié)的案例。

我們希望創(chuàng)造一個(gè)集體討論的空間，共同探討那些前沿、實(shí)驗(yàn)性且常常未被充分認(rèn)識(shí)的實(shí)踐，如何能夠在不同語境之間被轉(zhuǎn)譯、分享并持續(xù)發(fā)展。

在超越零散或孤立項(xiàng)目的基礎(chǔ)上，我們也邀請(qǐng)投稿者思考：策展實(shí)踐中的介入如何能夠在更長(zhǎng)遠(yuǎn)的層面上，推動(dòng)博物館、影院、電影節(jié)、檔案機(jī)構(gòu)、文化機(jī)構(gòu)以及文化政策體系中的結(jié)構(gòu)性改變。

We therefore invite contributions that reflect on concrete curatorial practices, experiences, and strategies—including actions, negotiations, and even failures—through which decolonial approaches are enacted, reimagined, contested, or compromised in film curation and programming.

We aim to create a collective space to examine how cutting-edge, experimental, and often unrecognised practices can be translated, shared, and sustained across different contexts. Moving beyond isolated initiatives, we invite contributors to consider how curatorial interventions might generate long-term, systemic change across museums, cinemas, festivals, archives, institutions, and cultural policy.

我們歡迎圍繞以下議題（但不限于）提交提案：

• 創(chuàng)造能夠促進(jìn)反思、對(duì)話與集體學(xué)習(xí)的觀影體驗(yàn)

• 為移民社群、離散社群、本地社區(qū)以及代表性不足的群體策劃放映，或與其共同策展

• 挑戰(zhàn)由算法驅(qū)動(dòng)和消費(fèi)邏輯主導(dǎo)的觀影習(xí)慣

• 亞洲及亞洲離散背景的策展人和放映策劃人所面臨的不平等處境

• 國(guó)際電影節(jié)及其他文化機(jī)構(gòu)中的權(quán)力結(jié)構(gòu)、語言與文化資本

• 構(gòu)建更公平、更支持性、更可持續(xù)的工作環(huán)境

• 關(guān)于聲音表達(dá)、同意（consent）與責(zé)任的倫理問題

• 避免象征性代表（tokenism）和對(duì)他者經(jīng)驗(yàn)的“提取式”利用（extractive approaches）

• 國(guó)際電影節(jié)體系與電影遺產(chǎn)流通網(wǎng)絡(luò)中的權(quán)力不平衡

• 全球電影流通體系如何影響亞洲電影被觀看、理解與評(píng)價(jià)的方式

• 資金結(jié)構(gòu)、市場(chǎng)機(jī)制與評(píng)論話語如何影響電影的選擇與認(rèn)可

• 在主導(dǎo)體系之內(nèi)進(jìn)行協(xié)商、妥協(xié)、拒絕與抵抗的策略

• 挑戰(zhàn)主導(dǎo)體系所施加的國(guó)家、地區(qū)與文化標(biāo)簽

• 大學(xué)與教育機(jī)構(gòu)在電影策展與電影教育去殖民化中的角色與影響

• 在跨國(guó)、跨語言與離散語境中進(jìn)行策展與節(jié)目策劃

• 重新思考如何向國(guó)際觀眾呈現(xiàn)和框定亞洲電影

• 策劃那些抵抗異域化（exoticisation）或文化品牌化（cultural branding）的電影

• 策劃那些受到審查、限制或難以獲取的影片

• 圍繞“缺失”“消逝”以及檔案空缺進(jìn)行策展實(shí)踐

• 出于倫理考量而拒絕放映或傳播某些作品的決策

We welcome proposals that explore, but are not limited to the following topics:

• Creating viewing experiences that encourage reflection, dialogue, and collective learning

• Programming for, about or with migrant, diasporic, local communities and underrepresented communities

• challenging algorithm-driven and consumption-based viewing habits

• Inequality faced by Asian and Asian diasporic curators and programmers

• Power, language, and cultural capital within international film festivals and other institutions

• Building fairer, more supportive, and more sustainable working environments

• Ethical questions of voice, consent, and responsibility

• Avoiding tokenism and extractive approaches to representation

• Power imbalances within the international film festival circuit and heritage film circulation networks

• How global film circuits shape the ways Asian cinemas are seen, understood, and valued

• How funding structures, markets, and critical discourse shape what is selected and recognised

• Strategies of negotiation, compromise, refusal, and resistance within dominant systems

• Challenging national, regional, and cultural labels imposed by dominant systems

• Roles and impact of universities and schools in decolonising film curation and education

• Programming or curating across borders, languages, and diasporic contexts

• Rethinking how Asian cinemas are framed for international audiences

• Programming films that resist exoticisation or cultural branding

• Programming films that are censored, restricted, or difficult to access

• Curating around loss, absence, and archival gaps

• Ethical refusal and decisions not to show or circulate certain works

我們特別鼓勵(lì)以下群體提交提案：

• 電影策展人與放映策劃人

• 電影節(jié)組織者與影迷俱樂部（cine-club）實(shí)踐者

• 影像檔案與保存領(lǐng)域的工作者

• 從事策展相關(guān)實(shí)踐的藝術(shù)家與電影創(chuàng)作者

• 來自電影、媒體、文化研究及相關(guān)領(lǐng)域的學(xué)者、研究者、教育者與學(xué)生

• 處于職業(yè)早期階段、獨(dú)立工作或不隸屬于機(jī)構(gòu)的實(shí)踐者

We warmly encourage proposals from:

• Film curators and programmers

• Festival organisers and cine-club practitioners

• Archivists and preservation workers

• Artists and filmmakers engaged in curatorial work

• Scholars, researchers, educators and students in film, media, cultural studies, and related fields

• Early-career, independent, and institutionally unaffiliated practitioners

We invite proposals in the following formats:

• Individual papers (15 minutes)

• Pre-constituted panels (3–4 speakers)

• Roundtables (3-4 speakers)

投稿指南

請(qǐng)?zhí)峤灰韵虏牧希?/p>

個(gè)人論文發(fā)言（Individual papers）：

• 一份 不超過 300 字的摘要

• 一份 約 100 字的個(gè)人簡(jiǎn)介（請(qǐng)注明所在機(jī)構(gòu)或單位，如有）

Panel 小組提案：

• 提交 一個(gè)整合文檔，包含所有發(fā)言人的摘要與個(gè)人簡(jiǎn)介

圓桌討論（Roundtable）：

• 提交 一個(gè)整合文檔，包含 一份摘要 以及所有參與者的個(gè)人簡(jiǎn)介

投稿截止日期：2026 年4 月 5 日

投稿郵箱：contact@acpacnet.org

會(huì)議形式：線下舉行（in-person）

會(huì)議時(shí)間：2026 年6 月 19 日 – 20 日

會(huì)議注冊(cè)信息（包括注冊(cè)費(fèi)用）將在4 月開放報(bào)名時(shí)公布。
請(qǐng)注意，與會(huì)者的交通與住宿費(fèi)用需自行承擔(dān)。

Submission Guidelines

Please submit:

For individual papers: An abstract of up to 300-wordsand a short bio (of approximately 100 words) including affiliation (if any)

For panels: one single document including all abstracts and bios.

For roundtables: one single document including one abstract and bios

Submission deadline:5 April 2026

Submit to:contact@acpacnet.org

Conference format:in-person

Conference dates:19 – 20 June 2026

Registration details, including fees, will be announced when registration opens in April. Please note that travel and accommodation expenses are the responsibility of participants.

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