本文將透過臺灣人類學者胡臺麗自1980 年代以來所拍攝的三部以「臺灣原住民族部落祭儀」為主題的民族誌影片（ethnographic film）：《神祖之靈歸來：排灣族五年祭》（1984）、《矮人祭之歌》（1988）與《讓靈魂回家》（2012）作為探討對象，一方面從中觀察胡臺麗如何藉由紀錄片的攝製來記錄部落的傳統祭儀，以「中介」靈性傳統（spiritual tradition）的現代變遷課題；另一方面，在近年完成的《讓靈魂回家》裡，則開始關注、討論原住民知識份子如何在回歸部落的「文化行動主義」（cultural activism）過程中，開啟傳統文化實踐與部落營造行動的新空間、新觀點和新議題。這不只是以靈性傳統的溯源來轉化部落文化脈絡，更反映出在歷經不同文化介入的當代情境下，實際參與原住民族文化復振所面臨的多重角力及協商難題。最後，本文認為這三部民族誌影片透過傳統祭儀的拍攝主題與論述觀點，深刻地反映出當代臺灣原住民族文化的「傳統」和「現代」對立課題，並且，伴隨著外在社會環境及文化生態的遞嬗，靈性傳統也從現代變遷的流逝、消失，逐步實踐著創造性轉化的可能，藉此引領我們審思當代跨文化情境的意義建成。

This essay explores the Taiwanese anthropologist Tai-Li Hu's three ethnographic films focusing on Taiwanese indigenous rituals in the 1980s-The Return of Gods and Ancestors: Paiwan Five-year Ceremony (1984), Songs of Pasta'ay (1988), and Returning Souls (2012). On the one hand, how Hu intermediates spiritual tradition by documenting the traditional rituals of indigenous tribes embodies contemporary changes. On the other hand, Hu stimulates incipient discussions about new spaces, new perspectives, and new discourses on traditional cultural revival and tribal building of the indigenous intellectuals, who return to tribes to act on ＂cultural activism＂ in her recent work, Returning Souls. Hu transforms the cultural context of tribe through tracing the origin of spiritual tradition accordingly. Furthermore, she presents the difficulties of negotiation with different dynamics engaging in reviving tribal cultures in light of cultural interventions in the contemporary society. The three documentaries represent a binary opposition between ＂the traditional＂ and ＂the modern＂ in the culture of Taiwan indigenous people with cinematic features and critical discourses in perspective. Spiritual tradition, which has shown an affinity for the vicissitudes of extrinsic surrounding of the society and cultural background, gives us a vision of creative transformation step by step. Bringing up an in-depth examination of spiritual tradition, these documentaries provide the leavening in a transcultural situation.