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牧野物語‧養蠶篇:剧情介绍
Plot Summary:The film opens with an old woman recounting a folk tale concerning silkworms (she calls them \"honorable worms\"), in which the Magino silkworms are seen as the reincarnation of a vanished princess, and as messengers of the gods. In the folk tale it is said that the pattern on the bodies of the silkworms is the same as the hoof print of the horse that protected the princess. This introduction draws us into the world of raising silkworms. Ogawa and his staff spin out a film from the process of actually raising silkworms themselves, under the direction of Sato Kimura, a woman who has spent half her life with the silkworms. The film shows us in exquisite detail the process involved: from the birth of the silkworms in the spring, through the selection of mulberry leaves for their food and the repeated shedding of their skins as they grow, to the cocoons that they make in time for the autumn. Along with Ogawa and his staff, we come to share the same sense of \"time\" as Sato, who has spent many years with the silkworms. This time spent with Sato, in particular, formed the basis of the opened attitude that Ogawa demonstrated in his later films after moving to Magino and working as both filmmaker and farmer.
表面上是一套教育電視，按步就班教授如何養蠶取絲，介紹甚麼階段的蠶該吃哪種桑葉，如何移筐，如何判別蠶是否肚餓及成熟，如何上架待其作繭自縛的情況等。由幼蠶長不過汗毛，到肥肥白白可吐絲的實錄過程所產生的趣味，讓片末的村史和家族漂染史都給比下去。 片初，養蠶的木村太太面孔朝下，表現羞怯並且不直視攝影機，彷彿不相信自己的手藝能登大雅之堂，到中段逐笑語漸多；而全片最堅定的說話，當數她不卑不亢地透露不放心將工序交托別人，蠶蟲在自己照料下心裡會較踏實──不僅交代了拍攝者和對象之間的關係，更呈現出被拍者流露的表達欲望和自信。小川一直強調紀錄片也有「戲」，《牧野物語‧養蠶篇》乃其紀錄片方法學一次輕巧但有力的示範。