他們在島嶼寫詩：臺灣現代詩紀錄片的影音化邏輯

Abstract

本文欲以詹金斯（Henry Jenkins）跨媒介敘事與埃爾（Astrid Erll）互媒機制為方法，分析溫知儀《朝向一首詩的完成》（2011）、陳懷恩《如歌的行板》（2014）與林靖傑《他還年輕》（2022）三部詩歌紀錄片，並在臺灣文學影視改編脈絡下，提出現代詩作為特定文類的影音化邏輯。本文將從影像轉譯文學的可譯與不可譯性切入，釐清現代詩不同於小說與散文的轉譯風格，並思索現代詩紀錄片「類型」的開展。除思考紀錄片如何形構兼容文學、影像美學的展演空間，本文也將探討影音如何挪用、擴延詩歌元素，既再現不同時期詩人的詩學主張，亦在當下時空提供新視角，重塑觀眾對於臺灣詩人的認知與感知。又此三部紀錄片同屬目宿媒體「他們在島嶼寫作」系列，三片如何拆解與超越島嶼邊界，重構「在島嶼」寫作的意涵，也是本文關注的問題。最後，本文將分析三部片如何由音像重構（一）楊牧詩歌的影像詩空間、（二）瘂弦詩中缺席的「臺灣」文學場域、（三）由吳晟詩歌開展的紀錄民主平臺；並釐清三部片關注點的移轉路徑，以回應影音如何開啟「文學來世」的命題，與描繪現代詩紀錄片與文學電影的未來展望。

This paper employs Henry Jenkins’ theory of transmedia storytelling and Astrid Erll’s concept of intermediality to analyze three poetry documentaries: Wen Chih-Yi’s (溫知儀) Towards The Completion of a Poem (2011), Chen Hwai-eng’s (陳懷恩) A Life That Sings (2014), and Lin Jing-jie’s (林靖傑) Still Young (2022). Within the context of Taiwanese literary film adaptations, this paper proposes an audio-visual logic for modern poetry as a specific literary genre. By examining the translatability and untranslatability of literary images, this paper clarifies the distinct adaptation strategies of modern poetry compared to prose and fiction, while exploring the emergence of the “genre” of modern poetry documentaries. In addition to considering how these documentaries construct a space that integrates literature and cinematic aesthetics, this paper will also explore how audio-visual assemblage appropriate and extend poetic elements—both reproducing the poetics of poets from different periods and offering new perspectives that reshape contemporary understanding and perception of Taiwanese poets. Furthermore, as these three documentaries are part of The Inspired Island series produced by Fisfisa Media, this paper will address how they deconstruct and transcend the boundaries of the island, reconstructing the meaning of writing “on the island.” Finally, this paper will analyze how these films reimagine (1) the audio-visual poetry space of Yang Mu’s (楊牧) work, (2) the absent “Taiwan” literary field in Ya Hsien’s (瘂弦) poetry, and (3) the democratic platform established through Wu Sheng’s (吳晟) poetry. This paper will also trace the shifting focus in these films to respond to how audio-visual assemblage open the concept of “literary afterlife” and to envision the future of modern poetry documentaries and literary cinema.