「人民」在邊界：《指月記》、《老西門》、《4891》中的地方記憶與身分政治

Abstract

本研究以新世紀（2000年之後）三部在萬華地區拍攝的紀錄片：《指月記》（2002）、《老西門》（2001）、《4891》（2013），三部分別在音畫處理、訪談、鏡頭運用具實驗性質的紀錄片為研究對象。本篇論文的三個章節依序脈絡化在：臺灣紀錄片史論、萬華地方歷史、當代臺灣認同論述的框架之中。透過三部紀錄片所呈現的地方記憶與身分政治，回應當代臺灣共同體論述中「人民」的侷限，探索實驗性紀錄片的社會性與在地性。

首先，本文指出，當前臺灣紀錄片論述側重於寫實主義紀錄片的社會性與在地性，忽略實驗美學紀錄片的社會性與在地性。然而，早自1960年代以來，知識分子便透過實驗影像回應現實社會，實驗影像的探索早已在複雜的社會網路中成形。黃庭輔與楊力州兩位紀錄片導演除曾以實驗影像回應現實社會外，更關注於受國家論述所壓抑，在歷史卻又不在「歷史」的人民身影。

其次，萬華地方歷史敘事指向切合於當前城市進步發展的現實性需求。三部紀錄片中的萬華影像地方感，呈現出「不在」萬華地方史中的人民如何參與了地方記憶的建構，這樣的地方記憶即是實驗紀錄片的社會性。接著，從三部紀錄片中所呈現的人民屬性，以個人的身分政治檢視當代臺灣認同論述建構過程，人民僅是作為論述統合的工具性效用而已，帶出臺灣實驗美學紀錄片的在地性。

綜合前述所言，藉由探索實驗性質紀錄片如何反映社會現實與在地生成的種種問題，提醒我們關於閱讀實驗紀錄片的各種可能性。In this thesis, I take three documentaries filmed in Wanhua in the new century: Ting-Fu Huang's the Nail (2002), Liz-Jou Yang's The Old West Gate (2001), and Ting-Fu Huang 's 4891 (2013) ,as the subjects of discussion. The three documentaries are experimental on non-sync sound, interview, and camera movement. The following three chapters of this thesis are organized in the discourse of Taiwan documentary, the local history of Wanhua, and the discourse of contemporary Taiwan identity. It goes on to analyze the three documentaries in relation to these three concepts. Through local memories and identity politics are presented in these three documentaries, it responds to the limitations of “people” in the discourse of contemporary Taiwanese community, and explores social and locality of experimental documentaries. First of all, the current discourse of Taiwan documentary focuses on the sociality and locality of realistic documentary, ignoring the sociality and locality of experimental documentary. However, since 1960s, intellectuals respond to the real society through experimental images, and the exploration of experimental images has taken shape in complex social network. In addition to responding to the real society with experimental images, Ting-Fu Huang and Liz-Jou Yang they both pay more attention to those people who are suppressed by the discourse of nation-state but are not in “ History”. Secondly, local historical narrative of Wanhua points to meet actual needs of the city’s progress and development. The sense of place in Wanhua’s images in these three documentaries, showing how people who are “absent” in Wanhua's local history participated in the construction of local memories. Such local memories are sociality of experimental documentary. From attributes of the people are presented in the three documentaries, to examine the construction process of contemporary Taiwan’s identity discourse with personal identity politics, people only serve as the instrumental utility of discourse integration, bringing out the locality of Taiwan's experimental aesthetics documentary. In conclusion, by exploring how experimental documentary reflects social reality and the various problems generated on locality, it reminds us of the various possibilities of reading experimental documentary.