蔡慶同

Chin-Tong Tsai

反思性、民族誌電影、主體性、紀錄片、參與式影像

documentary, ethnographic film, participatory video, reflexivity, subjectivity

我們對於當代中國紀實性音像的發展，大多仍侷限於所謂獨立紀錄片或新紀錄片運動的認識，較少為人所關注的正是西南邊疆的鄉村影像及其教育。所謂的「鄉村影像」，在臺灣被稱之為「社區影像」，皆是基於「參與式影像」的主體性，也就是試圖將攝影機的權力讓渡給原本的被攝者，使無聲的人得以發聲，且形成自己的眼光，並以影像作為社區或族群內外溝通的媒介。本文即是以西南邊疆鄉村影像及其教育的發展脈絡為本，尤其是廣西白褲瑤村民影像小組作為個案研究，進一步探討它對於紀實性音像可能帶來的反思性。由於西南邊疆的鄉村影像及其教育，強調一個從紀錄、文本到觀看的文化生產之迴圈，因此，在紀錄關係上，它在單一的取材之外，開啟了多元的可能性;在文本的美學上，從自然環境與傳統文化的記錄開始，衍生了社會變遷與視覺權力的觀察，並發展出檔案化與垂直性的方法;而在觀看的政治上，它更藉此改變了社區或族群原本對於攝影機的觀點，進一步認識到影像作為集體記憶的意義。

So-called “new Chinese documentaries” have received a lot of attention in the media and film study recently, but there is another important but ignored film movement in the southwest frontier of China. It is named community media, and its education comes from the concept of participatory video. Through some form of educational process, the documentaries’ facilitators hand over the power of the camera to voiceless people and empower them to speak in their own voices and to see the world from their own eyes. Therefore, via field investigations, participant observations, and in- depth interviews, this paper explores how community media and its education in southwest frontier China, especially taking the Baiku Yao community media team in Guangxi for example, not only generates subjectivity, but also produces reflexivity on documentary or ethnographic film. This paper concludes that community media and its education particularly emphasizes the cultural production based on community or ethnic group involved with the relationship of shooting, the aesthetics of text, and the politics of screening. First, community media and its education changes the relationship between shooting and expands possibilities such as collaborative, inherited, or practical. Second, although community media and its education focuses on environmental protection and traditional culture as the main topics, observations of social change and visual power also appear. Moreover, under the aesthetics of text, they develop an archiving way and vertical method to represent reality. Third, the previous negative viewpoint of Baiku Yao people on camera has changed, as they have now learned to recognize the value of documentary or ethnographic film, especially related to the collective memory of a community or ethnic group.