How We Build the Archive
一部影像留下的痕迹，可能散落在旧硬盘、放映单、海报、公众号文章和大家的记忆里。
观潮从 2015 年开始组织放映、创作者沙龙、城市活动与展览。多年以后，我们重新回到这些材料之中，辨认作品、人物与现场之间的关系。我们整理的不只是一份片目，而是一段仍在流动的地方影像记忆。
The traces of a moving image may be scattered across an old hard drive, a screening programme, a poster, an online article, or someone's memory.
Since 2015, KwanTeo has organized screenings, filmmaker salons, city programmes, and exhibitions. Years later, we return to these materials to reconnect works, people, and the places where they were made and encountered. The archive is not simply a film list. It is a living record of moving-image culture shaped by, and moving outward from, Chaoshan.
影片文件、活动照片、放映单、新闻报道和口述记忆，常常保存在不同的人与媒介手中。建档的第一步，是重新找到它们，并记录材料从哪里来。
Film files, event photographs, programmes, press coverage, and personal recollections are often held by different people and in different formats. Archival work begins by finding these traces and recording where they came from.
片名和姓名只是入口。我们继续核对作品与创作者、放映、活动及来源之间的关系，让一部影像回到它产生、流动和被观看的具体脉络之中。
Titles and names are only the beginning. We examine how a work relates to its makers, screenings, events, and sources, returning it to the contexts in which it was created, circulated, and seen.
不同来源可能彼此矛盾，一些年份、身份和关系也仍待确认。我们标记缺口、保存差异，不用猜测把一份尚未完成的地方影像史写得过于完整。
Sources may conflict, and dates, identities, or relationships may remain unresolved. We keep gaps and differences visible rather than forcing an unfinished history into a false sense of completeness.
一份材料可以被收藏，不代表它可以被展映、下载或在网络传播。观潮与创作者和材料持有者一起确认保存、研究使用与公开呈现的边界。
The preservation of material does not automatically permit its screening, download, or online circulation. Together with creators and material holders, we clarify the boundaries between preservation, research access, and public presentation.
An Anonymized Material Journey
以下案例来自观潮的真实整理经验，已隐去个人信息和内部路径。它展示的不是某一位创作者，而是一份放映材料如何从散落的文件，逐渐成为可以被理解和追溯的档案记录。
影片文件、海报、信息表和一次活动留下的照片分别进入整理。我们先记录接收时间、材料形式与提供者，不直接把文件名当作事实。
A film file, poster, information sheet, and photographs from a past event enter the archive separately. We first record when and how they arrived, and who provided them, rather than treating filenames as facts.
片名、年份、语言和片长被逐项比对。相互支持的信息可以确认；说法不同的地方保留待核验；评分等持续变化的数据注明采集时间。
Title, year, language, and duration are compared across materials. Supporting evidence allows a detail to be confirmed; discrepancies remain under review; changing data is recorded with the date of capture.
核验后的材料与作品、活动和来源建立关系。曾经分散的痕迹开始呈现出一段创作与传播过程，而个人信息、内部路径和未获许可的内容仍留在公开页面之外。
Verified material is connected to work, event, and source records. Scattered traces begin to reveal a history of creation and circulation, while personal data, internal paths, and unlicensed content remain outside the public archive.
Beyond the Film Record
An Archive Can Lead Beyond the Film Itself
一部作品可以继续连接它的取景地、参与人员、制作机构、设备支持、放映现场和观众记忆。随着这些关系逐渐被补充，档案不再只回答“有哪些电影”，也开始回答“一部电影如何在地方发生”。
它可以成为观察地方空间、创作协作、产业条件与文化流动的入口，也让未来的研究、策展与公共项目拥有更具体的线索。
A work can be connected to its filming locations, participants, production organizations, equipment support, screening history, and audience memories. As these relationships are gradually documented, the archive begins to answer not only what films exist, but how a film takes shape within a place.
These connections can open new ways of examining local space, creative collaboration, production conditions, and cultural movement, while providing richer material for future research, curation, and public programmes.