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前期出版
頁數：1﹣36
檔案建構作為研究方法： 華語獨立影像資料館（CIFA）與 華語獨立電影研究
Archiving as a Research Method: Chinese Independent Film Archive (CIFA) and Chinese Independent Cinema Studies
特邀論文
作者(中)
余瓊
作者(英)
Sabrina Qiong Yu
關鍵詞(中)
去中心化、知識生產、開放使用、華語獨立影像資料館、獨立電影、檔案建構
關鍵詞(英)
decentralization, knowledge production, access, Chinese Independent Film Archive (CIFA), independent cinema, archiving
中文摘要
一個致力於保存邊緣電影文化的資料館如何能夠生成新的、未曾預見的歷史知識？建構電影資料館的過程又如何能夠開啟研究一種電影文化的新路徑？本文以華語獨立影像資料館（CIFA）的建設實踐為案例，提出「檔案建構作為研究方法」的觀點，從收藏實踐與開放使用兩個方面探討檔案建構如何為華語獨立影像的研究提供數據、視角、議題與方法。
本文梳理了CIFA的起源、建設過程、工作原則與運作機制，重點討論館藏的收藏標準與策略、口述歷史訪談的方法，以及如何利用檔案數據研究華語獨立電影史；並分析CIFA圍繞建設開放、包容且易於訪問的資料館所開展的實踐，包括建立實體與數位資料館、搭建中英雙語網站、創辦雙語期刊、設計並應用關鍵詞檢索體系，以及通過展映、合作與公共教育啟動館藏。最後，文章反思了資料館建構者在資料館建構過程中的角色，分析其兼具學者、策展人與資料館員的複合身分所帶來的優勢與局限，並展望CIFA未來的發展方向。
本文認為，檔案建構不僅是保存電影文化的過程，也是知識生產的重要方式；資料館通過收藏、開放與使用不斷參與歷史敘述的建構，使檔案建構本身成為研究電影文化的一種方法。
本文梳理了CIFA的起源、建設過程、工作原則與運作機制，重點討論館藏的收藏標準與策略、口述歷史訪談的方法，以及如何利用檔案數據研究華語獨立電影史；並分析CIFA圍繞建設開放、包容且易於訪問的資料館所開展的實踐，包括建立實體與數位資料館、搭建中英雙語網站、創辦雙語期刊、設計並應用關鍵詞檢索體系，以及通過展映、合作與公共教育啟動館藏。最後，文章反思了資料館建構者在資料館建構過程中的角色，分析其兼具學者、策展人與資料館員的複合身分所帶來的優勢與局限，並展望CIFA未來的發展方向。
本文認為，檔案建構不僅是保存電影文化的過程，也是知識生產的重要方式；資料館通過收藏、開放與使用不斷參與歷史敘述的建構，使檔案建構本身成為研究電影文化的一種方法。
英文摘要
How can a marginalized collection generate new and unforeseen historical knowledge? How might the process of building a film archive open up new approaches to researching a film culture? Taking the development of the Chinese Independent Film Archive (CIFA) as a case study, this article proposes archiving as a research method. It examines how archiving contributes new data, perspectives, research questions, and methodologies to the study of Chinese independent cinema through two interrelated dimensions: acquisition and access.
The article discusses archive’s acquisition criteria and strategies, methodologies for conducting oral-history interviews, and the use of archival data to investigate the history of Chinese independent cinema. It also analyzes CIFA’s efforts to build an open, inclusive, and accessible archive, including the establishment of physical and digital archives, the launch of a bilingual website and bilingual journal, the design and application of a keyword retrieval system, and the activation of the collection through screenings, collaborations, and public education initiatives. Finally, the article reflects on the role of those involved in building CIFA, examining the advantages and limitations arising from their hybrid identity as a scholar, curator, and archivist, while considering the future direction of CIFA.
The article argues that archiving is not only a process of preserving film culture, but also an important mode of knowledge production. Through acquisition and access, archives continuously participate in the construction of historical narratives, making archiving itself a method for researching film culture.
The article discusses archive’s acquisition criteria and strategies, methodologies for conducting oral-history interviews, and the use of archival data to investigate the history of Chinese independent cinema. It also analyzes CIFA’s efforts to build an open, inclusive, and accessible archive, including the establishment of physical and digital archives, the launch of a bilingual website and bilingual journal, the design and application of a keyword retrieval system, and the activation of the collection through screenings, collaborations, and public education initiatives. Finally, the article reflects on the role of those involved in building CIFA, examining the advantages and limitations arising from their hybrid identity as a scholar, curator, and archivist, while considering the future direction of CIFA.
The article argues that archiving is not only a process of preserving film culture, but also an important mode of knowledge production. Through acquisition and access, archives continuously participate in the construction of historical narratives, making archiving itself a method for researching film culture.
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2026/ 夏
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