2013年紀錄片《看見台灣》創下台灣影史多項票房紀錄並引發社會迴響，讓紀錄片對於與觀眾溝通嚴肅公共議題的效力再度受到關注；然而，儘管學界對紀錄片的學術性趣有日漸興盛的趨勢，觀眾觀點卻仍舊是有待開發的領域。本文一方面意圖重新指陳這個重要的研究問題，一方面也意圖透過開展一個紀錄片閱聽人研究討論未來相關研究發展的可能。 /

1970年代，從電視台、大飯店到歌廳、舞廳甚至是唱片錄音室，幾乎所有跟歌唱娛樂事業相關的場合，都可以看見樂手的身影。鼓霸大樂隊身為台灣第一支正統的爵士大樂隊，剛好搭上時代的潮流，見證了這段日後再也不復見的榮景。本片記錄現在鼓霸大樂隊中幾位年齡不同的樂手，試圖呈現過去台灣音樂工作者的不同樣貌，以及這個時代下他們如何繼續其音樂工作。

Synopsis As soon as the fingers of the French accordionist, and of the two Taiwanese harpist and pipa player start to run on their instruments the different melodies influenced by each of their culture, the audience is immersed in the multicultural atmosphere set by the collaboration between the two puppet companies. In front of the public stands a box, reminding the traditional tool of puppeteers, but this very box is a massive one of 4 meters on 4 meters. On left and right side of it, three Taiwanese and their puppets and three French and their puppets. As they are walking around the box so as to express the distance they cross, they finally meet. Then on start a Shakespearian love story, and a friendship grows between the 6 puppeteers. The box, fixed on a rolling structure, rotates on itself and gives each time the audience the occasion to see a new face of it, a new part of the plot, new interactions between actors, as well as new elements of each countries’ puppet tradition. This documentary follows the thread of “The Box” from besides the coulisse’s curtains of this one year long collaboration between the French Puppet Company “Les Zonzons” with the Taiwanese “Taiyuan” Company. Following the chronology of their collaboration, traveling back and forth from Taipei to Lyon for Guignol’s 200 years birthday and back to Taipei for the Art Festival, the film will not only shows parts of the live representations and their rehearsals, but also it tries to give audience the occasion to grasp more understandings on those two old puppet’s traditions. Beyond this introduction, the film also questions the current state of both Puppet Theater and the problem of transmission of these traditions. Meantime, through relating this artistic co-realization where puppets play somehow a mediating role, a kind of ‘bridge’ of reflection, creation, communication and respect between those two companies with differences of life and lifestyle, way of thinking, environment, language, code, etc, this film evokes the issue of intercultural dialogue. As a mirror of the play it presents, and trying to get out from the usual clichés of portraits made on both culture, this non-fictional film depicts an encounter between people from these two cultures and tries to give some insights on the exchanges and the process of mutual understanding that underlie beneath. Keywords: intercultural communication; intercultural awareness; intercultural performance; exchanges of knowledge; transmission of traditions; documentary film; non-fiction film. － 片名：（法文）En chair et en bois （英文）In flesh and wood － 型態、規格 ： 紀錄片； DV － 長度：77分鐘

本片以”當美好事物即將失去,你將會怎麼辦？”為主題，透過紀錄兩位國中女學生因為學習扯鈴，而能在比賽中得冠、或是能到校外表演，獲得成就感。然而在國中以升學為主的學習環境下，拉扯著她們曾經對扯鈴的美夢，更因此遭逢失去這些成就的危機。 本技術報告主要說明導演採用參與觀察法，進行紀錄片拍攝。在報告中，省思拍攝者與被拍攝者之權力關係。說明導演如何在與被攝者的互動中，改變攝影機的拍攝角度。另外也探討創作者，由職業上的記者身分，如何轉變為紀錄者(導演)，以及思考可能對紀錄觀點的影響。 / The concept of this film argues that how people will we do once wonderful things are falling away? By this documentary film telling two young teenage girls achieve their fulfillment by wining champion of diabolo competition out side of school. However, their dream has been stressed out by overwhelming tests and homework when they are preparing for the College Entrance Exam, and that is a crisis for them to lose this fulfillment. This paper presents the way of director‘s perspective to make this documentary film. It also exams the powership between director and interviewees, presents on various way of camera shooting as their interaction is changing. Meanwhile, it also explores “cross identity change” to deconstruct the idea of film making as director has been changed his role from a reporter to a documentary film maker.

本作品紀錄家人對患有腦性麻痺的弟弟無私的付出與照護，用影片呈現以阿嬤為首的家人，如何努力、認真地面對不幸與殘缺。創作過程同時作為自我療癒的實踐方式，本人藉此過程重新獲得勇氣與面對遺憾的信心。 在拍攝手法上，主要採取參與模式（The Participatory Mode）紀錄家人與弟弟相處的情形，呈現家屬努力不懈的奮鬥精神。期盼透過作品，觀眾能夠打破對身心障礙群體及其家屬單一且刻板的淒苦印象，肯定家屬們的努力，並且理解病患與家屬之間緊密、雙向與互助的情感聯繫。 本創作論述提供創作的背景與動機，關於敘事治療、疾病、照護、紀錄片類型的文獻探討，以及創作內容說明。 / This film records my family’s wholehearted devotion to my little brother with cerebral palsy. It reveals how my grandmother and family members fight with the misfortune and transcend it. As a practice of self-healing, I obtain courage and confidence to face the trauma that has been buried in my mind since my little brother became disabled through the whole process. I apply the“Participatory Mode”of documentary to record how my little brother and my family live their lives to reveal their unyielding spirit. I hope this film can change the stereotypical impressions of the disabled and their families in the society and let people truly understand the tight inter-subjective bonds between the disabled and their families. The thesis declares my motives and story background of this creation in the first part. It then reviews the literary writings about self-healing, cerebral palsy, family caregiving, and documentary directing. In the third part, I explain all the treatment of my film.

「如果說人生是一列火車，每個人手上都有一張沒有標明終點站的車票，那麼沿路的每個站名對我們而言，都不重要，但是當終點站名出現時，你要怎麼面對下一站 。」 人生列車上，有你有我。只是我們都不知道彼此的終點站。有些人的終點來得很突然，有些人卻老早就知道自己即將在不遠的下一站下車。漸凍人就是如此。 每個漸凍人都有一條專屬於自己的病歷曲線，雖然每條線長相不同，但在曲線長尾都會面對同一件事-氣切。不願氣切的漸凍人可能隨時面臨列車靠站，被生命列車長趕下車的命運。即使願意氣切，許多漸凍人仍面臨下一站到站的威脅。 「看天花板的人」是三個忙碌漸凍人的故事。為何說他們忙碌？因為他們深怕沒有明天，因為他們害怕深夜的一口痰就把他們噎死。於是他們過得比誰都忙碌。 當社會上不時傳來貧瘠過活、甚至輕易了斷生命的新聞時，有一群隨時會被趕下生命列車的漸凍人，卻豐富每天的生命。當太陽照例從東邊升起時，他們嘴邊總是泛著笑意，「我又賺到一天了。」 但是病歷總會有走到曲線長尾的一天，面對呼吸中止的威脅，到底要不要氣切，要不要成為「看天花板的人」，這樣的抉擇，卻比度過漫漫長夜還要令人煎熬。 關鍵詞：紀錄片、生命教育、漸凍人、ALS、氣切

本研究試圖以社會歷史取向，審視一九四五年以來台灣新聞與紀錄片在社會的政治、經濟與文化……等相對自主領域交互影響之下的發展形貌。本文將新聞與紀錄片的產製視為一種文化生產，代表的是社會事實意義的「再現」（representation）過程，故在其產製過程中必受到社會中各場域（fields，政治、經濟、文化、科技…）的影響。本文將台灣新聞與紀錄片的產製，置在特定社會、經濟、歷史脈絡中加以分析，以了解在各不同歷史階段下，所承擔的角色與意義。 在行文脈絡部分，依據影片產製者及影片類型之變遷將台灣新聞片與紀錄片之發展分為電影新聞片時期（1945~1971）、電視新聞片與新聞雜誌影片（1971~1984）、電視紀錄片與獨立紀錄片（1984~1995）、個人紀錄片與學院紀錄片（1995~2001）等共四階段。依次分章節論述台灣新聞與紀錄影片的產製在不同歷史脈絡中及社會運作過程中變遷的結果。 電影新聞片時期（1945~1971）：國營片廠掌控了新聞與紀錄片的生產，其延續日本據台時期的產製模式與運用，將新聞與紀錄片視為政宣的工具，用以形塑國家認同與政權的合法性。其再現美學都以「解釋」（expository）形式紀錄片為主，只在呈現官方所欲呈現之事實現象，暗含強烈的教化意義。 電視新聞片與新聞雜誌影片（1971~1984）：電視時代的來臨吞噬電影的消費市場，於是國營片場在影片的產製上快速萎縮，電視媒體成為新聞與紀錄片主要的產製機構，於是電影新聞片轉變成電視新聞報導以及新聞雜誌形式的節目。另一方面國家機器也利用電視聯播節目的形式主導電視紀錄片的產製，而此時受到外在文化氛圍的影響，紀錄片的題材取向轉為關注本土文化，但也由於政治上的持續高壓，使得對台灣本土的關懷侷限於民俗文化或鄉土風情。而「解釋」形式的再現方式仍是此時期主要表現手法。 電視紀錄片與獨立紀錄片（1984~1995）：八○年代之後威權統治逐漸瓦解，源於反抗國家機器對主流媒體的掌控，壓縮了反對運動的發聲空間，反主流媒體因而堀起，對政運、社運進行紀錄，反擊主流媒體扭曲的論述，對政治的專制、農村經濟的危機、貧富分配不均、公害污染等等社會問題進行揭發與批判。但隨著反對運動的漸趨沈澱，反主流媒體也面臨解體消失的命運。另一方面，電影紀錄片在公共電視體系的支持之下持續生產，題材更趨多元。而「觀察」（observational）型式的紀錄片美學也逐漸出現在此時期的作品之中。 個人紀錄片與學院紀錄片（1995~2001）：科技進步之下，影像製作的進入門檻與成本繼續降低，加上正規教育體系與社會團體在人才上的培育與紀錄片美學的介紹，個人紀錄片蓬勃發展。而有線電視所形成的電視環境所供的資金與時段，國家文化單位對相關研究的支持與創作的獎助，也成為紀錄片成長的動力，如此台灣紀錄片創作源源不斷，而在題材上也包含了更廣泛的層面，一般民眾的生活經驗與觀點更能在影片創作中被呈現。而創造上的知性的思考態度，也使得較複雜的紀錄哲學，例如互動式（interactive）的再現技術漸漸成近來影片創作者的一種實踐理想。 / Through sociohistorical approach, this research tends to examine the newsreel and documentary in Taiwan from 1945, which are developed under the interaction from the individual fields, such as politics, economy, culture and so on. This research regards the producing of newsreel and documentary as a mode of culture producing, or a mode of the “representation” of the social events. Therefore, the procedure of production must be influenced by a variety of fields in society (e.g. politics, economy, culture, technology….). This research analyzed the production of the newsreel and documentary in Taiwan, taking into account of society, economy, history, in order to understand their roles and significances in different period of time. Base on the evolutions of producers and their styles, the developments of the news and recording films in Taiwan can be categorized into the period of newsreel (1945~1971), the period of TV news and TV news-magazine documentary (1971~1984), the period of TV documentary and independent documentary (1984~1995) and the period of personal documentary and school documentary (1995~). These four periods are analyzed and explained chapter by chapter in the research. Newsreel period (1945~1971)：the governmental films-making factory controlled the production of newsreel and documentary, and continued the mode of production and use from the period of Japanese Occupation, which means the newsreel and documentary are regarded as the tool of policy announcement in order to form the country identification and the legality of authority. The “expository model” documentary is the main type in “representation”; only presents what government wants to present. TV news and TV news-magazine documentary period (1971~1984)：the advent of TV narrowed the market of movies. The production numbers of the governmental films-making factory decreased quite a lot. TV became the main media for producing the news and documentary. On the other hand, government also used the style of co-broadcast to lead the production of TV documentary. Meanwhile, the topics of documentary tended to pay attention to local culture because of the influence from the outside atmosphere surrounding the society. However, the increasing pressure from politics also makes this attention only limit to folk culture and local customs. The representation of “expository model” was still the main method in this period. TV documentary and independent documentary period (1984~1995)：after 80’s, the collapsion of authority collapsed gradually leaded to the intention against the main media, against the media’s fake statements, to reveal and criticize the authority of politics, the crisis of village economy, the unbalance of rich and poor, and many other social problems. However, while this movement slowed down, the intention against the main media naturally went disappeared. On the other hand, TV documentary kept in producing because of the support from the system of PTV channel, and the topics tended to be various. The type of “observational model” documentary appeared gradually in this period. Personal documentary and school documentary period (1995~2001)：due to the improvement of technology, as well as the growth of specialist and the introduction of the art of the documentary, the personal documentary develop greatly. The capital investment and broadcasting time provided by PTV and cable TV, and the scholarship supported by government are also the motion for the growth of documentary. As result, the documentary in Taiwan were produced steady, the topics went broader, and the experience and opinion from normal people’s life were presented in the creation of documentary. Moreover, the more complicated philosophy about documentary, such as interactive model of representation become the fulfilling idea of the documentary makers.

第一章 泰雅族祖靈祭之探討 探討泰雅族傳統文化及農事祭儀，分析泰雅族的祖靈觀，再由文獻中討論泰雅族的祖靈祭的內容為何，並以表格化來分析各地泰雅族的祖靈祭間的差異，再從分析表中討論接近傳統的祭典為何，再以此做為復振依據。 第二章 北勢群 Maho(祖靈祭)之探討 針對北勢群八個部落Maho(祖靈祭)在文獻上及各部落族老對Maho的口述做一個分析，並討論西方宗教如何影響祭典，各教派對祭典的態度為何。再者採討1990年至2002年間以麻必浩部落為主復振的經驗，如何運用在全北勢群的復振工作上。 第三章 復振之紀錄片探討。 討論以紀錄片為運動工具的發展史，從文獻的角度來看，紀錄片有否可能達到復振的工作。並分析『走！親近祖靈』39分鐘的紀錄片拍攝之動機、源起、手法、目的為何，導演拍攝如何運用影像的語言，影像的影響力來試圖改變北勢群的祭典。 第四章 祖靈祭祭典之復振與前瞻 2003年筆者運用紀錄片到北勢群八個部落，做紀錄片的放映、討論，而各部落的討論做分析，呈現各部落對Maho的看法及態度，並紀錄分析因紀錄片的運動而改變的程度為何。 本文先以泰雅族的祖靈祭做文獻的採討，再討論北勢群的祭典，進而將復振多年的麻必浩部落做一個相對的比較。而紀錄片部份先以麻必浩部落為出發，北勢群的蘇魯部落及新竹的鎮西堡部落，三個部落為單位、二個新竹五峰鄉、台中和平鄉由官方辦理的作一個比較，由觀影者來自我判斷，何種形式較適合自己的部落，而觀影的部落由影片中討論出自己部落的發展形態。

《身外物》為本人以「患病母親的女兒」視角，以影片創作詮釋媽媽初發病至今，我所感知到的家庭改變，以及家人與我共度媽媽生病的心境歷程。 《身外物》以紀錄影像為主，並藉由許多重建場景，以空鏡頭或意境式的影像之重演、動畫虛構方式，傳達有關個人成長記憶裡媽媽生病前／後的畫面，是屬於較具表現形式的個人紀錄片作品。 同時，影片的概念「身外物」，意指媽媽從前美麗的衣服，以及而今臥床狀態所必需的醫療用具；兩者分指向「健康」與「生病成為生命的一部分」的訊息，以兩種身外物象徵的故事敘事，帶出本人與家人陪伴媽媽生病一路走來的歷程。更期能在創作過程中，療癒自己多年面對媽媽生病以來的創傷心情，因此該作品是一則平靜卻也蘊含著對過去逐漸釋懷的影像述說。 / “Mother’s Belongings” is a film about how my family and I have been accompanying my mother with her illness all of the days, which has brought significant changes to our lives. As a daughter, I will depict my psychological journey based on what I perceive before and after my mother encountered the disease ever since my teenage. The film will include two parts: one is based on video records of my daily life, the other is some fictional clips about my past memories. The title “Mother’s Belongings” indicates different belongings (or apparels) of my mother’s “health” and “illness”. I intend to use the symbols of material nature to delineate the story of a daughter and her family facing the illness of her mother.

2013年，台灣本土出現第一個關心身障者「性」的義工團體－手天使，其組織免費提供重度身體障礙者性服務。當身障者「性權」議題逐漸檯面化時，來申請手天使服務的人卻皆為男性，經過手天使的努力，才終於在2016年9月出現第一位女性受服務者。本片記錄三位不同年齡的女性身障者，以及手天使團隊成員們，試圖從個人生命經驗，及社會「性」實踐，交織出女性障礙者在當今社會如何完成生命的渴望。 / In 2013, Hand Angels was founded. It is the first Taiwanese NGO with a focus on sexual rights, providing sexual services for people with severe physical disabilities. However, even amidst increasing awareness of sexual relief as an aspect of human rights for the disabled, all applicants for Hand Angels' services remained male until September 2016, when the organization serviced its first female applicant. Through the personal stories of three women with disability, and through following the work of the Hand Angels team, this documentary paints a picture of the struggles faced by disabled women in today's society, and their efforts to coexist with their physical disabilities and experience all that life has to offer.