沈可尚音像創作的美學基進性 = 以《噤聲三角》與《築巢人》為例

다국어 초록 (Multilingual Abstract)

In this paper, by analyzing the aesthetic techniques of “Silent Triangle” and “Nesting Man” by Shen Ke Shang, and how the two films dealt with the issues of (national) identity, the bottom and the ethical record respectively. Trying to propose different from the sports / art-based documentary classification and imagination, and thus re-excavate the so-called “art-based documentary.” In the face of Taiwan’s new documentary tradition of “sports documentary”, in its form of subversion and aesthetic creation, still wrapped in the basic and political.
In Taiwan’s new documentary research, The author will be more in the mid-1980s, the “green group” as the main sports documentary as a new documentary in Taiwan tradition. So regards many of the creators after 2000 for the documentary series of attempts and innovations as a departure from this tradition and variation, and call it a personal, artistic or commercial documentary. Shen Ke Shang’s “Silent triangular region” and “Nesting Man”, although with this a big difference between its traditional interest. But the author believes that these two have a strong sense of style and care of the audio-visual creation, can not be classified in the “art documentary”. Therefore, in the “see” Taiwan’s new documentary on the visual level, Shen Ke Shang’s unique aesthetic approach and form of film, will be re-exploration of the past by the sports / art-type classification obscured, the loss of the visual starting point. So in this paper, author analyzes Shen Ke Shang’s two films, not only to highlight the visual media, but also through the “re-see” process, explore and tap the film together with the visual obscured the political and basic.