當幕後置入鏡前: 電視台體制下的環境紀錄片工作者柯金源
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2021
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近年來全球自然災害頻傳，環境保育成為地球公民不可忽視的共同議題。隨著科技發展，以影像紀錄環境變化、主張環境正義的紀錄片作品扮演著為社會大眾傳遞環境意識重要的中介角色。但是從國外《不願面對的真相》、《第11個小時》等知名環境紀錄片卻被批評其敘事過度主張生態恐怖主義（eco-terrorism），內看台灣的《±2℃》、《看見台灣》兩部院線環境紀錄大片，同樣以生態恐怖主義作爲論述基底，以恐懼呼籲的情緒說服策略，試圖挑起觀者的行動。環境紀錄片除了恐懼呼籲外，有無另闢蹊徑的做法？長年紀錄追蹤台灣各地環境生態的公視紀錄片導演柯金源，2019年以《前進》入圍台北電影獎的最佳紀錄片。《前進》由柯金源拍攝台灣30年來的環境運動串連而成，除了感受到時間推移，導演將自己的身影、聲音置入片中，以「後設」、「片中片」手法帶入每一段環境公害抗爭。帶給觀眾「親臨現場」、「幕後式」的思考，成功吸引觀影者對於「環境正義」的另一種可能性。柯金源使用紀錄片工作大量揭露的表現方式，即本研究提出之—「幕後置入鏡前」手法。本研究以紀錄片工作者的角度切入，研究柯金源30年來的環境紀錄片作品，主要關注《前進南極》（2008）、《黑》（2013）、《前進》（2018）及《神殿》（2019）四部作品中「幕後置入鏡前」手法，並加以分類。再透過深度訪談探究其拍攝、製作動機，進而討論此表現手法的能動性。盼能以文本分析輔以深度訪談的質性研究方法，提供學界關於台灣電視台體制下之環境紀錄片工作者的研究視角。
In recent years natural disasters have been reported frequently around the world, and environmental conservation has become a common issue which the Earth Citizens could not ignore. With the advancement in technology, documentary productions that record environmental changes and advocate environmental justice, are playing an initial mediating role in conveying environmental awareness to the public. However, well-known environmental documentaries abroad, such as<An Inconvenient Truth> (2006) and < The 11th Hour > (2007), have been criticized for their overly advocating eco-terrorism narrative, and meanwhile, Taiwanese well-known environmental documentaries such as <±2℃> (2010) and <Beyond Beauty: Taiwan from Above> (2013), have also used eco-terrorism narrative as their basis discourse, trying to provoke viewers to action through emotional persuasion strategy of fear appeal. Apart from the fear appeal, is there any alternative performative way to environmental documentaries?Ke Chin-yuan, a PTS documentary film director, who has tracked the environmental ecology around Taiwan for ages, was shortlisted for the Best Documentary at the 2019 Taipei Film Awards with <The Age Of Awakening> (2018). <The Age Of Awakening> (2018) is a documentary made up of a series of environmental movements over the past 30 years in Taiwan. In addition to feeling the passage of time, Ke has tried a way of putting his figure and voice into the film, bringing in each part of the fight against environmental hazards through ‘meta’ and ‘film in film’. As a result, it has successfully led to an alternative possibility of the performative way of ‘environmental justice’, providing audiences thoughts of ‘attend in person’ and ‘behind the scenes’. The way Ke widely exposing his work behind the scenes throughout the filmmaking, is the performative way of environmental filmmaking mentioned in this study --‘From Behind the Scenes to Infront’.From the standpoint of documentary filmmakers, this study aims to investigate and characterize Ke’s documentary productions over the past 30 years. Among these productions, the performative way of ‘From Behind the Scenes to Infront’ in <Our Antarctic Dream> (2008), <Black> (2013), <The Age Of Awakening> (2018), and <Sacred Forest> (2019), is the main concern of this study. Furthermore, through in-depth interviews, this study also aims to explore Ke’s filmmaking motivation and to carry out a discussion on the agency of his performative way. Through the qualitative research method of textual analysis and in-depth interviews, the researcher hopes to contribute a research perspective from the environmental documentary filmmakers under the television broadcasting system in Taiwan.
In recent years natural disasters have been reported frequently around the world, and environmental conservation has become a common issue which the Earth Citizens could not ignore. With the advancement in technology, documentary productions that record environmental changes and advocate environmental justice, are playing an initial mediating role in conveying environmental awareness to the public. However, well-known environmental documentaries abroad, such as<An Inconvenient Truth> (2006) and < The 11th Hour > (2007), have been criticized for their overly advocating eco-terrorism narrative, and meanwhile, Taiwanese well-known environmental documentaries such as <±2℃> (2010) and <Beyond Beauty: Taiwan from Above> (2013), have also used eco-terrorism narrative as their basis discourse, trying to provoke viewers to action through emotional persuasion strategy of fear appeal. Apart from the fear appeal, is there any alternative performative way to environmental documentaries?Ke Chin-yuan, a PTS documentary film director, who has tracked the environmental ecology around Taiwan for ages, was shortlisted for the Best Documentary at the 2019 Taipei Film Awards with <The Age Of Awakening> (2018). <The Age Of Awakening> (2018) is a documentary made up of a series of environmental movements over the past 30 years in Taiwan. In addition to feeling the passage of time, Ke has tried a way of putting his figure and voice into the film, bringing in each part of the fight against environmental hazards through ‘meta’ and ‘film in film’. As a result, it has successfully led to an alternative possibility of the performative way of ‘environmental justice’, providing audiences thoughts of ‘attend in person’ and ‘behind the scenes’. The way Ke widely exposing his work behind the scenes throughout the filmmaking, is the performative way of environmental filmmaking mentioned in this study --‘From Behind the Scenes to Infront’.From the standpoint of documentary filmmakers, this study aims to investigate and characterize Ke’s documentary productions over the past 30 years. Among these productions, the performative way of ‘From Behind the Scenes to Infront’ in <Our Antarctic Dream> (2008), <Black> (2013), <The Age Of Awakening> (2018), and <Sacred Forest> (2019), is the main concern of this study. Furthermore, through in-depth interviews, this study also aims to explore Ke’s filmmaking motivation and to carry out a discussion on the agency of his performative way. Through the qualitative research method of textual analysis and in-depth interviews, the researcher hopes to contribute a research perspective from the environmental documentary filmmakers under the television broadcasting system in Taiwan.
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幕後置入鏡前, 環境紀錄片, 紀錄片工作者, 柯金源, 電視紀錄片工作者, From Working Behind the Scenes to Appearing in The Films, Environmental documentary, Documentary filmmaker, Ke Chin-yuan, Television Documentary filmmaker