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台灣原住民紀錄片：導演生存心態下之美感詮釋 Indigenous Documentary films in Taiwan:Aesthetic Perspectives on Director''s habitués
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| 作者 |
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謝佳玲 |
| 學校系所 |
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國立東華大學民族藝術研究所 |
| 地點 |
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全臺 全部
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| 研究內容 |
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[ 摘要 ]
1990年中後期，台灣原住民裔導演運用紀錄片呈現他們對部落、社會、族群意識與生命感知，從這些紀錄片裡，可以看到異於官方歷史的歷史，以及異於主流價值外的價值。紀錄片取材於現實，然而在層層交疊的影像形式中隱含著掌鏡者的個體意念及意義，但學術論述較少關注到詮釋觀點的種種手法。本論文以「影像表現形式為作者的觀點再現」的基礎上來論述，因為紀錄片裡所呈現的影像特徵通常有所指涉、象徵，討論紀錄片的表現手法與作者概念性思維之間的關係，是另一種電影研究的可能方式，這樣的論述也有異過去學術界主要著重影像的社會議題與導演風格研究之常態。
本論文旨在探討4部台灣原住民紀錄片的表現手法與作者之概念性思維關係，再進一步研究其作者的概念性思維如何影響影像的詮釋手法擇取。針對紀錄片作者的概念性思維之探討，本文所採用研究方法主要以Pierre Bourdieu的場域、文化資本、生存心態學理為基礎，並利用深度訪談方法輔助，以探究作者心態；針對紀錄片文本的表現手法之分析，本文所採用的研究方法主要以Bill Nichols的紀錄片再現模式，及紀錄片形式特徵與造型元素等分析方法為主。本文最末探討出主體對客體的概念性思維、作者之生存心態以及概念性思維如何影響影像表現之擇取等三項結論。
[ 英文摘要 ]
Since mid 1990, Indigenous directors in Taiwan have represented their socio- cultural and ethnic awareness, with reflection towards lives, on the medium of documentary films. Historical perspectives from main stream could not be seen in those documentaries, instead, critical thinking and social reflections applied within those films. However, conventional academic discourses rarely involve topics such as filming types of individual directors and how they interpret. This thesis mainly focus on various filming types with reflection of directors’ perspectives. The film scenes have embedded relations of conceptual contexts and filming types. Discussion of the relations would provide another path to film studies which often spotlight on social issues and style.
Based on Pierre Bourdieu’s concepts of field, culture capital and habitués, this thesis explores mindset of selected Indigenous directors, by method of deep interviews. Moreover, this thesis analyzes documentaries’ filming type, following Bill Nichols’s concept of Documentary Modes of Representation, and the characters of documentary filming types. This thesis further discusses the conceptual minds on objects and subjects, film makers’ habitués and how those conceptions evolved in selections of picture scenes.
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