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- 저자 : 邱 貴 芬 (검색결과 1 건)
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邱 貴 芬 한국중국현대문학학회 2005 中國現代文學 Vol.0 No.34
Taiwan new cinema is often said to be an heir to xiang-t’u literature of the 1970s. This paper argues that it is Taiwan new documentary filmmaking, rather than Taiwan new cinema, that inherits the cultural legacies of xiang-t’u literature. Like Taiwan new cinema, Taiwan new documentary emerged in the early 1980s in the wake of xiang-t’u literature debates. But while the new cinema is informed by an aesthetics and outlook closely associated with the rise of the new bourgeois class in the Taiwanese society, the new documentary was born out of the close alliance of documentary filmmaking with street demonstrations at that time. Starting out as grass‐roots “eye‐witness” counter news reportages to disrupt the official control of media, Taiwan new documentary is concerned most of all with the possibility of “giving a voice to the voiceless”―a major theme of xiang-t’u literature of the 1970s. This emphasis on the representation of subaltern voices becomes a distinctive feature of Taiwan new documentary in the course of time. With its strong interest in “the voice of the people”, Taiwan documentary could be regarded as a visual counterpart to xiang‐t’u literature. Filmic representation, however, involves a whole different set of problems as it shows subaltern subjects “talking” on screen. Focusing on two contemporary documentaries --- Lugang Coolies and Poles Extremity, this paper tries to illustrate the problems and the vision of “giving a voice to the voiceless” that make Taiwan new documentary so distinguishably different from Taiwan new cinema. It also examines how two crucial notions associated with xiang-t’u literature, “homeland” and “nostalgia,” play out in the films to open up new space for critical thinking. 紀錄片近年來頗受影界矚目, 韓國紀錄片≪遣返≫(Repatriation)第一個月的賣座據說就超過兩萬人數, 台灣吳乙峰的≪生命≫擠進2004年台灣電影十大賣座排行榜並榮獲國際獎項, 而美國的≪華氏911≫(Fahrenheit 911)也在國際影展裡備受矚目。 亞洲紀錄片這幾年的表現生龍活虎, 但是相關的紀錄片硏究卻方興未艾, 本論文試圖抛磚引玉, 開闢台灣新電影硏究之外的另一類電影硏究空間。 如果1982年標示了台灣新電影的發軔, 大約在同一時間另一股結合草根運動的影像表達模式也正開始對台灣社會民主化與影片製作的發展産生衝擊。 這波另類台灣影像製作革命主要的戰場在紀錄片。 相較於台灣新電影高蹈的藝術傾向, 從1980年代台灣民主運動戰場發展出來的台灣紀錄片似乎更顯現了承襲了台灣鄕土文學運動所標榜的「爲民喉舌」的文化語言姿態, 與台灣新電影中産階級菁英電影語言大異其趣。 卽使在1990年代之後, 年輕一輩的紀錄片工作者紛紛冒現, 社運時代所强調的「寫實」風格也受到挑戰, 但是, 基本上台灣紀錄片仍保留相當濃厚的「草根」氣息;呈現「一般人民的聲音與觀點」依然是紀錄片相當重要的特色。 如果台灣紀錄片可視爲「台灣鄕土文學的影像化」, 由於音像語言與文字書寫表達模式不同, 紀錄片顯然在實踐傳達「人民心聲」的企圖時, 涉及更複雜的議題, 有相當更豐富的探討空間。 本文將以兩部台灣年輕導演的作品--周美玲的≪極端寶島≫和紀文章的≪鹿港苦力≫--爲例, 探討「弱勢發聲」在紀錄片這個特殊傳媒模式裡複雜的推演, 並透過兩部影片所展現的「庶民/鄕土想像」, 重新開啓台灣鄕土文學裡「鄕土」、 「懷舊」這些關鍵槪念的基進政治意義, 探索另類文化願景的可能。
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