臺灣博碩士論文加值系統

這篇論文源起於我長久以來對電影再現台灣離島議題的關切。本研究致力於處理三部探討蘭嶼的民族誌紀錄片 (1993-2001)，他們超越了以往帶有偏見、制式的紀錄影片，呈現了豐富的在地知識。特別的是，這三部影片共同呈現了蘭嶼的兩種層次：第一，蘭嶼與現代性的接觸(encounter)； 第二，攝影機如何呈現前述的接觸。三部影片處理的方式皆不同，必須從與現代性接觸後的影響，以及攝影機的功能去解釋。
同時，我也將探討民族誌影片中有關 “真實”和 “反思性”的回應，並檢視我所探討的三部影片中，導演是如何的呈現此一相關議題。
論文的第二章，在胡台麗1993年所拍攝的<<蘭嶼觀點>>中，我將比較其和另一部由澳洲籍導演Dennis O’Rourke所拍攝的<<食人之旅>> (Cannibal Tours，1988)。兩部影片不約而同地著墨於 “觀光旅遊”，以及當地人如何面對觀光客進入後所帶來的現代性及轉變。胡台麗的影片充滿了強烈的反思性，並且致力於實踐民族誌影史裡一些重要的突破，以及承繼先人的影響，諸如Robert Flaherty的 “參與式攝影” (participatory cinema)、Jean Rouch的“分享人類學” (shared anthropology)，以及反思性思考等等。此外，她的影片凸顯了影像作為記錄媒介的特質 (相對於書寫媒介)，因其藉由交差剪接，能夠同時呈現不同的觀點與衝突，並且能夠幫助我們瞭解人類學家和被攝對象的關係和距離。然而，胡台麗因為身負強烈的歷史和道德包袱，以致她不可避免的陷入另一迷思─希望扭轉長久以來漢人對原住民再現的影像剝削。
論文的第三章，郭珍弟的<<清文不在家>> (2000)，首先，我將其和Robert Flaherty的<<北方的南努克>> (Nanook of the North, 1922)作一比較，因為兩部影片中和現代性的接觸，同樣地發生在一個家庭的脈絡中。接下來，我將討論郭珍弟的影片如何藉著影像的矛盾，呈現蘭嶼和台灣共時而斷離的現代性。此外，攝影機在本片的角色甚至超越了它平常的作用，而去捕捉那看不見的主角，清文。
論文的第四章， <<面對惡靈>> (2001)，是由蘭嶼島上的原住民護士希馬妮芮(張淑蘭)所拍攝。她所面對的問題是現代醫療系統和傳統惡靈信仰的衝突。本片同樣是現代性的介入，運用大量的特寫鏡頭，帶領我們進入被攝者的內心世界，攝影機的介入最多也最深。我將結合Béla Balázs的 特寫鏡頭以及 Mary Louise Pratt 的 “自我民族誌”(autoethnography)觀點來作一深入的探討。導演站在一個現代性的角度(護士的身份)，來看待此一與現代性的接觸。我認為希馬妮芮運用大量的特寫鏡頭看待她的部落文化，完成一部自我民族誌影片，其作用正是進行 “除魅” (disenchantment)的過程，也就是致力於破除達悟人對惡靈纏附老人身體的信仰。
持攝影機的人總是自豪的認為他們有能力瞥見 “真實”的面貌，也就是與現代性接觸的真實面。本篇論文所探討的三部影片，皆為與蘭嶼的近距離接觸 (close encounter)，但所呈現的蘭嶼，可能非常貼近其真實面貌，但畢竟不是蘭嶼本身。再者，此一和現代性的接觸為一封閉的接觸 (closed encounter)，所有的真相都藏在攝影機背後。

This thesis is initiated by my long-term concern for the filmic representation of the off-shore islands of Taiwan. The three documentary films produced between 1993 and 2001 I have chosen deal with a variety of subjects related to Orchid Island. Neither a naive nor a prejudiced filmmaking, the films are abundant with local and ethnographic knowledge. In particular, they attempt at representing Orchid Island on two levels. The first addresses that of Orchid Island’s encounters with modernity, while the second, that of the camera’s encounter with those encounters─or rather, its involvement in them. For the films, Orchid Island is no longer a visual spectacle or object to consume; rather, it has become a living subject with her own voice.
Also, I would like to deal with the problem of truth and the reflexivity issue in ethnographic film, then, to see how the three directors of the films I discuss probe into these issues in their works.
In chapter two, I will choose two prominent ethnographic films, Dennis O’Rourke’s Cannibal Tours (1988) and Hu Tai-li’s (胡台麗) Voices of Orchid Island, to make comparisons and contrasts with a special interest in tourism and the subsequent native encounters with modernity. And then I will discuss why the two camera people from different countries deal with the same material─tourism. In other words, why bother making a film when it comes to tourism? In Voices of Orchid Island, Hu, aware of her identity as both an ethnographer and a filmmaker, makes a film which overcomes the one-sided, prejudiced product of TV journalism, and is full of dialectical reflections. She puts into practice the influential notions of participatory cinema, shared anthropology, and reflexive thinking, as are passed down by the predecessors of ethnographic filmmaking. And her film demonstrates that film is a better medium than written language to be a documentary tool to present conflicts by cross-cutting opposing views, helping us to realize the distance between an anthropologist and his or her filmed subjects. However, as Hu has shouldered a historical and moral burden as a reflexive Han scholar, she is trapped into her compassion as her myth─her hope to reverse the permanent media exploitation of the aboriginal people like those in Orchid Island.
In chapter three, I would first compare Kuo Chen-ti’s (郭珍弟) Libangbang to Flaherty’s Nanook of the North, both of which deal with the culture in a family context. Next, I will probe into Kuo’s paradoxical representation in visual images to display the synchronous but disjunctive modernity shared between Taiwan and Orchid Island. On top of this, the function of the camera of the film takes a paradoxical turn: it goes even beyond the normal function of a camera in order to capture the “absence” of the film’s major figure, Ching-wen. And then, I will compare Kuo’s and Hu’s different relationships, through their camera, with the filmed subjects in Orchid Island.
In chapter four, I will discuss an indigenous nurse Si-Manirei’s (Chang Shu-lan 張淑蘭) film And Deliver Us from Evil. The film is more intrusive than the two previous films, Voices of Orchid Island and Libangbang, because Si-Manirei leads us into the inner world of the subjects by making a large number of the close-up shots. I will use Béla Balázs''sidea of “the close-up” to probe into the film. And then I will view Si-Manirei’s film as an instance of “autoethnography,” a concept brought up by Mary Louise Pratt, because Si-Manirei, as both an insider and an outsider, looks upon this encounter with modernity from the perspective of modernity─the camera and the modern medical care system (as a nurse). I think that Si-Manirei makes an “autoethnographic film” by employing a great deal of close-ups on her own culture in order to “disenchant” her tribal myth─the evil spirit that possesses the sick.
The camera people pride themselves on the ability to have this glimpse of the moment of truth─the moment of the encounter with modernity. All three documentary films I have examined are in touch with Orchid Island at the moment when it encounters modernity. The films come very “close” as to remap its borderline, not quite the island itself. It is also a “closed” encounter that performs the work behind the cinematic apparatus. What we confront, and are overwhelmed by, are the images created / remapped in the filmmakers’ mind. It is only by going beyond the screen are we capable of finding the juxtaposition of realities oscillating between authenticity and imagination.

Table of Contents
Chinese Abstract i
English Abstract iii
Acknowledgement v
Contents vi
Chapter One Introduction 1
Chapter Two Encountering Voices of Orchid Island Though
Cannibal Tours 13
Chapter Three Capturing the “Absence”: Libangbang
Revisited 39
Chapter Four And Deliver Us from Evil Revisited 53
Chapter Five Conclusion 72
Filmography 76
Works Cited 79

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Filmography
And Deliver Us From Evil (面對惡靈). Dir. Si-Manirei (Chang Shu-lan, 張淑蘭). Taipei: Institute of Ethnology, Academia Sinica, 2001 (台北市: 中研院民族所).
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Cannibal Tours. Dir. Dennis O’Rourke. Australia: Direct Cinema, 1988.
Childhood Rivalry in Bali and New Guinea. Dir. Margaret Mead, and Gregory Bateson. USA: Pennsylvania State Audio-Visual Services, 1952.
Dead Birds. Dir. Robert Gardner. USA: The Film Study Center of the Peabody Museum at Harvard University, 1963.
The Floating Ball (浮球). Dir. Li Chih-chiang (李志薔). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
Jaguar. Dir. Jean Rouch. France: France: Films de la Pleiade, 1967.
Karba’s First Years: A Study of Balinese Childhood. Dir. Margaret Mead, and Gregory Bateson. USA: Pennsylvania State Audio-Visual Services, 1952.
Les Maîtres fous. Dir. Jean Rouch. France: Films de la Pleiade; USA: McGraw-Hill Films, 1956.
Libangbang (清文不在家). Dir. Kuo, Chen-ti (郭珍弟). Floating Islands: Islands in Taiwan’s Stream, Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
The Man With the Movie Camera. Dir. Dziga Vertov. USSR: VUFKU, 1929.
My Own Private Green Island (我的綠島). Dir. Hsu Juei-yang (許綺鷰). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
Nanook of the North. Dir. Robert Flaherty. USA: Les Freres Revillon and Pathes Exchange, 1922.
The Paradise Islands: Tong-Sha, an Isle like a Crab (南之島之男之島). Dir. Lee Mong-zhe (李孟哲). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
Passing Through My Mother-in law’s Village (穿過婆家村). Dir. Hu Tai-li (胡台麗). Taipei: Institute of Ethnology, Academia Sinica, 1997 (台北市: 中研院民族所).
Shadow Dancing at Matzu (馬祖舞影). Dir. Chien Wei-Ssu (簡偉斯). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
Silent Delta (噤聲三角). Dir. Shen Ko-shang (沈可尚). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
Titicut Follies. Dir. Frederick Wiseman. USA: Zipporah Films, 1967.
Turtle Island: Nostalgic Voices (鄉愁對話錄). Dir. Lee Yung-Chuan (李泳泉). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).
Voices of Orchid Island (蘭嶼觀點). Dir. Hu Tai-li (胡台麗). Taipei: Institute of Ethnology, Academia Sinica, 1993 (台北市: 中研院民族所).
03:04. Dir. Huang Ting-fu (黃庭輔). Floating Islands, Islands in Taiwan’s Stream: Twelve Visions of Paradise Lost (《流離島影》系列紀錄片之一). Taipei: PTS, 2000 (台北市: 公共電視台發行, 2000年).