无论出于何种原因，在过去的十年里，公众对于滑板运动的认知似乎已经改变了。滑手们不再是令人憎恶的社会败类，他们是令人崇拜的年轻人。但是人们至少对滑板运动，或者是与它并肩的文化心存隔阂，并认为它对好的事物的影响远大于其威胁。
这种社会思潮尤其盛行的就是二十世纪八十年代柏林墙倒塌之前的东德，它又被称为德意志民主共和国。他们认为滑板运动是美利坚国的产物，具有破坏性和危险性。所以前民主德国国家安全局开始了对滑板团体的监控并以此来密切注意一些潜在的闹事者和破坏者。这种所谓的危险很快进入了官方媒体的视野，一篇摘自时代周刊的文章指出读者有责任让他们的孩子以及青年人远离滑板运动，这不仅意味着滑手们已经被妖魔化了，也意味着滑手们不能再被允许在东德用加州制作的带有轮子的长木板滑板了。
德国电影制作人马丹·比斯利制作了一部关于滑板的名叫《这不是这加州》的混合纪录片。纪录片出版于上一年并将于下月登上国际影坛。电影一经公映便因其大胆使用重建和没有主角的事实而引来批评之声。但是马丹告诉我说：“电影里所有的都是真人真事。”他只是把这些事情合并在一起只为塑造一个可以极具叙述性的主角。这部纪录片里的事情并没有超出理想的范围。
For whatever reason the public perception of skateboarding seems to have changed over the last decade. Skaters on TV aren't obnoxious, glue-huffing wasters any more; they're admirable young men building community skateparks on Google ads. But the sport, or the culture that goes hand-in-hand with the sport, at least, did used to be seen as more of a threat to all things wholesome.
One country where this held especially true was communist East Germany in the 1980s—also known as the German Democratic Republic, or GDR—before the fall of the Berlin Wall. Skateboarding was American, therefore subversive and dangerous, so the Stasi began monitoring the skating community to keep tabs on any potential troublemakers or ringleaders. The perceived danger quickly made its way into the state media. A news clip from the time instructs viewers that it is "our duty to protect our children and youths from [skateboarding]," meaning skaters were demonized and left to smuggle Californian-made boards over the border if they wanted to skate anything more advanced than a plank of wood attached to some rollerskate wheels.
German filmmaker Marten Persiel made a "hybrid documentary" about the history of skating in the GDR called This Ain't California, which was released last year in Germany and gets its international cinematic release next month. The film was criticized on its release for its liberal use of reconstructions and the fact its lead character never actually existed, but Marten told me, "all the things that happen in the film are true stories." He simply amalgamated them to create a lead character who he could hang the narrative from. And in a "hybrid documentary," that doesn't seem like too big of a deal.
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编辑：Tanky
来源：Transworld Skateboarding
