"自1990年代中期以來，台灣原住民族紀錄片歷經將近30年的發展，早已形構出獨特的脈絡肌理，但具有歷史視野的系統性研究，至今仍付之闕如。承此，本論文將從發展史的角度切入，具體爬梳原住民族紀錄片的進展歷程，並且，錨定其中三個分期階段，施以更為清晰可見的歷史結構，從不同生產條件提供的多元化時期（1994-2005）、建置原住民族傳播管道的體制化時期（2005-2014），再到屢屢倍受國際影展肯定的國際化時期（2015-），透過這些歷時性階段的深入探討，不只見證解嚴後台灣政治轉型和社會變遷如何深刻影響原住民族群對於紀錄片製作的實踐行動，也充分體現原住民族紀錄片在生產方式、傳播管道、美學表現、影展策略的豐富議題。
在章節架構的布局上，首要側重政治體制統御、策動的具有主宰性的外部驅力，凸顯原住民族紀錄片於發軔之初相當直接的受制關係，但隨著原住民族文化生產場域和傳播生態的自主性增強，台灣紀錄片市場機制逐漸成熟，置身其間的原住民導演身臨這樣的趨勢變化，也開始折射出不同以往的創作向度。簡要地說，第二章在揭開原住民族紀錄片的興起背景時，就特別聚焦在國家文化政策的主導角色，彼此如何借力使力，到了第三章在梳理原住民族傳播權漸次法制化的進程，即著眼於紀錄影像生產與電視媒體組織的運作關係，最後第四章則是探究原住民導演如何回應這個產生結構性變化的社會環境，開創新局，拓展紀錄片創作的國際空間，當中尤以2010年代後出道的原住民青年世代導演對於影展策略、表現形式和製作分工有所突破，值得觀察。
最後，透過原住民族紀錄片的發展研究，充分體現鉅觀的社會結構與微觀的媒介過程之間複雜的連動性。尤其，對於原住民族來說，政治體制主導的政策定向是促成其與紀錄片交會的重要助力，但這也隱隱顯現當中的權力互動並不是完全對立的，而是一種充滿交涉、協商的關係運作。
Over the past thirty years, the filmmakers of Taiwan indigenous documentary have sought their own ways to theorize their works in the contexts since the 1990s. Obviously, a new visibility of a systematic study with historical view is still needed. This dissertation epitomizes vicissitudes of Taiwan indigenous documentary with its historical development. On the other hand, three stages of development are examined with a historical frame: diversity created by a variety of conditions of production (1994-2005), institutionalization of a mass medium of indigenous people in Taiwan (2005-2014), and praise in recognition of international film festivals (2015-the present). They are not only an account of how political transformation as well as social changes have an influence on indigenous people in Taiwan, but also an embodiment of production, medium, aesthetics, and marketing in film festivals.
The early development of Taiwan indigenous documentary closely hinged on politics and was dominated by external force. Nevertheless, the market of Taiwan documentary has been gradually lively and strong while the fields of cultural production and media publicity changed and became more and more independent. Hence, the filmmakers started to add a new dimension to their cinematic productions. Chapter Two focuses on the role that cultural policy plays in the emergence of Taiwan indigenous documentary. Chapter Three shows an intangibly interweaving of production of documentary and media in the process of institutionalization of the rights of indigenous people. Chapter Four is an observation of how indigenous filmmakers, especially those of youth generation who have produced films since 2010, respond to social changes. They make every endeavor to participate in the international film festivals and challenge strategies of film festivals, cinematic forms, and division of labor.
To sum up, a survey of the development of Taiwan indigenous documentary unveils a sophisticated interconnectedness of macro (social structure) and micro (medium). Though filmmakers of indigenous documentary in Taiwan are reinforced to address to the policy makers, they don’t regard them as their adversary. Instead, they sometimes play a pivotal role of supporter in the process of compromise and negotiation.
|
