紀錄片如何思考：當代臺灣紀錄片的主觀表述

Abstract

參考「論文電影」（essay film）的理論，本論文以西元2000年之後的當代臺灣紀錄片為主要研究對象，檢視作品中的主觀表述（subjective expression）及影像風格，來回顧具有實驗特徵的臺灣紀錄片發展脈絡，探索影像的論述潛能。 首先，本文指出自《流離島影》提出「主觀」的視角以來，具有特殊形式的作品，便成為臺灣紀錄片的重要創作趨勢之一。我認為這些作品的主觀性、跨類型特徵，挑戰過去以互動式為主的紀錄片攝製方式，藉由說明攝影機不可能是透明的中介，反思過往鮮少受到檢視的紀錄者位置，進而質疑對紀錄片的政治性、倫理與美學的「寫實」閱讀方式。 接著，分析以「主觀性」作為美學與論述策略的三組紀錄片，分別於章節中歸納出三種取徑：第二章，從「旅遊」的概念，試論臺灣紀錄片歷史中的另類系譜，從《流離島影》的旅人身份，指出其對國家與紀錄片歷史論述的批判；第三章，以黃庭輔導演的〈03:04〉、《指月記》兩部作品為例，呈現前衛與現代主義影像的重要主題：探索影像中時間與身體的關係，分析兩部作品中所呈現的「時差」，懸置並延遲了線性邏輯下的時間；第四章，以林泰州《書包裡的秘密》與反空污影像為例，指出攝影機有限的掌握真實的能力，因此，製作者使用重演與其他影像製作技巧，以顯現不可見的記憶、感覺及創傷經驗。 綜上，當影像操演、變化和反思作者形象，以回應現實中關於歷史、社會正義與影像媒介特質的種種問題，本文認為，最重要的是，凸顯出面向「觀者」的倫理思維。因為，唯有取消對「觀看」本身的偏見，才能找回感覺與思考世界的能力。

This thesis analyzes “subjective expressions” and film styles in contemporary Taiwanese documentaries released after 2000. “Essay film studies”, in the context of this thesis, can be viewed as the formulation of critical thinking and the study on the development of the documentary films that can be coined as being “experimental”. Since Floating Islands proposed a “subjective” way of filmmaking, making documentary from a “personal” perspective or with a “creative” take has become one of the most important trends. By identifying that the camera is never a transparent medium, I propose that subjectivity and cross-genre characteristics in these works have challenged previous documentary practices, which are based on interactive mode. The project of Floating Islands reflects on the role of filmmaker and raises questions about realist understanding of socio-political, ethical, and aesthetic issues. In this paper, three groups of documentaries, where “subjectivity” is taken as a strategy of aesthetics and discourse, are analyzed. In order to achieve a thorough analysis, I propose three different approaches: in chapter two, I provide an alternative genealogy of Taiwanese documentaries from the concept of “travel.” In this sense, films in Floating Islands further developed a critique on narratives of national and documentary history; in chapter three, by focusing on “03:04” and Nail, both of which are directed by Huang Ting-fu, I present a dominant approach taken by the avant-garde and modernist filmmakers: exploring the relationship between “time” and “body” in their films. Furthermore, I propose that “time lags”, phenomenon illustrated by the two films, suspend and postpone the linear logic of time; in chapter four, taking Lin Tay-jou’s The Secret in the Satchel and anti-pollution films for example, this chapter reveals a limited ability of camera to capture reality. Therefore, Lin uses “reenactment” and other techniques of filmmaking to visualize the “invisibles”, such as memory, affection, and traumatic experiences. In conclusion, as documentaries respond to the issues concerning history, social justice and representational medium with performances, shifts and reflections on authorial image, the utmost importance is to emphasize the ethical thinking towards “spectators.” Only through a withdrawal of prejudice against 'viewing' can we reclaim the ability to feel and think about the world.