本片根据音乐家兼哲学家大卫·罗森伯格同名著作《鸟儿为何歌唱》改编。鸟儿为何歌唱？人类又为何对鸟儿声音如此着迷？可解析的理论令人好奇，既有趣又复杂，有时又自相矛盾。音乐家Laurie Anderson, Jarvis Cocker和Beth Orton参与了制作，还有鸟声研究科学家的分析，例如诗歌中的鸟声指南、以鸟声为主题的艺术作品“事件”和人鸟合奏的二重唱。（文：gzdmfc@VeryCD）

本片根据音乐家兼哲学家大卫·罗森伯格同名著作《鸟儿为何歌唱》改编。鸟儿为何歌唱？人类又为何对鸟儿声音如此着迷？可解析的理论令人好奇，既有趣又复杂，有时又自相矛盾。音乐家Laurie Anderson, Jarvis Cocker和Beth Orton参与了制作，还有鸟声研究科学家的分析，例如诗歌中的鸟声指南、以鸟声为主题的艺术作品“事件”和人鸟合奏的二重唱。（文：gzdmfc@VeryCD）

侯孝贤电影社1995年纪录片作品。直面国民党当局迁台后台湾在上世纪五十年代遭遇的长期白色恐怖之真相，通过寻访政治迫害受难者记录不幸遭遇的口述历史。 　　同年侯孝贤执导的《好男好女》中的革命者蒋碧玉，正是本片片名的来源与引导者。所不同的是，年轻的声音是戏里戏外的花花世界，而苍老的声音则是残酷冰冷的历史现实。 　　当黑暗将要退却 　　而黎明已在遥远的天边 　　唱起嘹亮的凯歌 　　我们为什么不歌唱 　　当严冬将要完尽 　　而人们所向往的春天 　　被封锁在冰霜的下面 　　我们为什么不歌唱 　　当锁链还锁住我们的手足 　　鲜血在淋流 　　而自由就在窗外向我们招手 　　我们为什么不歌唱 　　当悲伤的昨日将要死去 　　欢笑的明天已向我们走来 　　而人们说 　　你们不应该哭泣 　　我们为什么不歌唱

侯孝贤电影社1995年纪录片作品。直面国民党当局迁台后台湾在上世纪五十年代遭遇的长期白色恐怖之真相，通过寻访政治迫害受难者记录不幸遭遇的口述历史。 　　同年侯孝贤执导的《好男好女》中的革命者蒋碧玉，正是本片片名的来源与引导者。所不同的是，年轻的声音是戏里戏外的花花世界，而苍老的声音则是残酷冰冷的历史现实。 　　当黑暗将要退却 　　而黎明已在遥远的天边 　　唱起嘹亮的凯歌 　　我们为什么不歌唱 　　当严冬将要完尽 　　而人们所向往的春天 　　被封锁在冰霜的下面 　　我们为什么不歌唱 　　当锁链还锁住我们的手足 　　鲜血在淋流 　　而自由就在窗外向我们招手 　　我们为什么不歌唱 　　当悲伤的昨日将要死去 　　欢笑的明天已向我们走来 　　而人们说 　　你们不应该哭泣 　　我们为什么不歌唱

Rodrigo, a film director, intends to make a film about the Conquest in a remote village in the Bolivian altiplano. Initially receptive to the idea, the Indian community living there reacts violently when some local wildlife is destroyed. Para recibir el canto de los pájaros is a little more subtle in its portrayal of cultural conflict than Sanjinés's earlier film, Yawar Mallku — where violence is seen as the only legitimate response to western cultural domination — for it not only shows that not all that is western is bad, but it even highlights negative elements within Andean culture. Most important for this discussion, Para recibir el canto de los pájaros plays with the film-within-a-film convention inherited from Hollywood, but it sometimes tricks the spectator making him unsure as to whether a scene is part of the film or part of the everyday reality of a film crew from La Paz in the Andes. Underlying the scene in which the producer, Pedro Barrón, emerges from the pit in which he has been trapped, and sees his Conquistador double walk nonchalantly past him, is the crucial notion of self-consciousness. Pedro realizes that his role as film producer in the late twentieth century is a re-enactment of 'his' role as Conquistador in the early sixteenth century. The spectator is drawn into this playing-off of two time-continuums, and in effect achieves a double-consciousness in which he can see Aymara culture from within and also from without. 　　A heavy-handed allegory by a veteran Bolivian film-maker about the racism endemic in his country and the more universal inability to learn from history. It opens with masked conquistadors (the harquebus angels) lined against the Andean altiplano skyline, as a mainly mestizo film crew track up the hill like Aguirre's invading army in Herzog's Wrath of God. Thus begins a series of broad parallels, culminating in a siege, whereby the crew, assailed by the Indian community (who have refused to be in their historical movie), almost resort to the use of the ancient harquebuses in their possession. The song of the title refers to the birds of the Indians' annual music festival: the crew shoot them for sport. Beautiful scenery.

Rodrigo, a film director, intends to make a film about the Conquest in a remote village in the Bolivian altiplano. Initially receptive to the idea, the Indian community living there reacts violently when some local wildlife is destroyed. Para recibir el canto de los pájaros is a little more subtle in its portrayal of cultural conflict than Sanjinés's earlier film, Yawar Mallku — where violence is seen as the only legitimate response to western cultural domination — for it not only shows that not all that is western is bad, but it even highlights negative elements within Andean culture. Most important for this discussion, Para recibir el canto de los pájaros plays with the film-within-a-film convention inherited from Hollywood, but it sometimes tricks the spectator making him unsure as to whether a scene is part of the film or part of the everyday reality of a film crew from La Paz in the Andes. Underlying the scene in which the producer, Pedro Barrón, emerges from the pit in which he has been trapped, and sees his Conquistador double walk nonchalantly past him, is the crucial notion of self-consciousness. Pedro realizes that his role as film producer in the late twentieth century is a re-enactment of 'his' role as Conquistador in the early sixteenth century. The spectator is drawn into this playing-off of two time-continuums, and in effect achieves a double-consciousness in which he can see Aymara culture from within and also from without. 　　A heavy-handed allegory by a veteran Bolivian film-maker about the racism endemic in his country and the more universal inability to learn from history. It opens with masked conquistadors (the harquebus angels) lined against the Andean altiplano skyline, as a mainly mestizo film crew track up the hill like Aguirre's invading army in Herzog's Wrath of God. Thus begins a series of broad parallels, culminating in a siege, whereby the crew, assailed by the Indian community (who have refused to be in their historical movie), almost resort to the use of the ancient harquebuses in their possession. The song of the title refers to the birds of the Indians' annual music festival: the crew shoot them for sport. Beautiful scenery.

即将毕业的韦礼安正面临着人生最关键的选择，拥有创作和演唱天分的他却无法找到属于自己的一片天地。经过一连串的挫折后，他选择放弃梦想、接受现实，抛下音乐跑到烧腊店打工。这时他的生命中突然无故出现一支古怪又爱讲话巨鸟，巨鸟声称自己是幻想玩伴有限公司派来的员工，这只巨鸟开始融入他的生活，他也透过巨鸟开始慢慢审视自己的人生。当两人渐渐成为默契十足的好兄弟时，巨鸟却开始消失，他必须在有限时间内找回剧鸟的身体同时学会如何面对自己的过去和未来…

即将毕业的韦礼安正面临着人生最关键的选择，拥有创作和演唱天分的他却无法找到属于自己的一片天地。经过一连串的挫折后，他选择放弃梦想、接受现实，抛下音乐跑到烧腊店打工。这时他的生命中突然无故出现一支古怪又爱讲话巨鸟，巨鸟声称自己是幻想玩伴有限公司派来的员工，这只巨鸟开始融入他的生活，他也透过巨鸟开始慢慢审视自己的人生。当两人渐渐成为默契十足的好兄弟时，巨鸟却开始消失，他必须在有限时间内找回剧鸟的身体同时学会如何面对自己的过去和未来…