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題名：獨白或對話：影像檔案操作策略下個人記憶與集體記憶的辯證
書刊名：南藝學報
作者：陳品君 引用關係
作者(外文)：Chen, Pen-juin
出版日期：2017
卷期：14
頁次：頁27-48
主題關鍵詞：紀錄片；城市流光；姓越名南；影像檔案；Documentary；Of time and the city；Surname Viet given name Nam；Visual archives
原始連結：連回原系統網址new window
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  • 被引用次數被引用次數:期刊(0) 博士論文(0) 專書(0) 專書論文(0)
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  • 點閱點閱:6
影像檔案生產當初乃為某種目的，必然存在其不可磨滅的個別記憶，且有些經由媒體的傳播為整個世代分享而具有集體記憶的價值。因此，紀錄片不能隨意創造過去，卻因使用影像檔案因禍得福增加自身的歷史縱深和豐富的記憶面向。本文藉由分析兩部紀錄片：戴維斯（Terence Davies）的《城市流光》（Of Time and the City, 2008）及鄭明河（Trinh T. Minh-ha）的《姓越名南》（Surname Viet Given Name Nam, 1989）探討影像檔案操作策略背後影片導演的意圖、慾望與所形塑的認同模式，並探究：（1）影像檔案操作策略如何受制於導演自身的美學品味和政治意識型態。（2）個人記憶如何與影像檔案所代表的集體記憶互動產生對話。（3）少數族裔紀錄片導演又是如何將充斥著集體記憶的影像檔案透過拍攝策略和修辭模式轉化為個人記憶或族裔歷史，為其發聲，展現該族群的意識。
Visual archives were born to serve certain purposes, and inevitably bear the valuable recollections of particular individuals. By way of media’s broadcast, some visual archives have become the collective memories of whole generations. The use of visual archives has enriched the content of many documentaries, giving them deeper historical values with poignant individual recollections. In this article, I take an analytical look at two documentaries Of Time and the City (2008) by Terence Davies and Surname Viet Given Name Nam (1989) by Trinh T. Minh-ha. I discuss visual archives’ manipulations in documentaries and try to explore the following issues: (1)In the process of manipulation of visual archives, how will a filmmaker be restrained by his/her aesthetics and ideologies? (2)How will the filmmaker’s personal recollections interact with the collective memories presented in the documentaries through visual archives? Or will the filmmaker’s personal recollections muzzle the collective social memories and turn the documentary into a monologue? (3)Will it lead to enabling the people to make their documentaries as decentralizing the power and speaking for themselves?
期刊論文
1.Baecque, Antoine de、Jousse, Thierry、孫松榮(20050400)。賈克．德希達[Jacques Derrida]：電影與它的幽靈。電影欣賞，23(2)=122，38-48。  延伸查詢new window
2.Brooke, Stephen(2001)。Gender and working class identity in Britain during the 1950s。Journal of Social History，34，773-795。  new window
3.Duong, Lan(2009)。Traitors and translators: reframing Trinh T. Minh-ha's Surname Viet Given Name Nam。Discourse，31，195-219。  new window
4.Gracki, Katherine(2001)。True lies: staging the ethnographic interview in Trinh T. Minh-ha's Surname Viet, Given Name Nam。Pacific Coast Philology，36，48-63。  new window
5.Kirk, Neville(1991)。'Traditional' working-class culture and 'the rise of Labour': some preliminary questions and observations。Social History，16，203-216。  new window
6.Klein, Joanne(2004)。'Moving on,' men and the changing character of interwar working-class neighborhoods: from the files of the Manchester and Liverpool city police。Journal of Social History，38，407-421。  new window
7.Minh-ha, Trinh T.(1990)。Documentray is/not a name。October，52，76-98。  new window
圖書
1.Barthes, Roland、Heath, Stephen(1977)。Image, Music, Text。New York：Hill and Wang。  new window
2.Rascaroli, Laura、洪家春、吳丹、馬然(2014)。私人攝像機：主觀電影和散文影片。北京：金城出版社。  延伸查詢new window
3.Derrida, Jacques、Prenowitz, Eric(1996)。Archive Fever: a Freudian Impression。University of Chicago Press。  new window
4.錢中文(1998)。巴赫金全集。河北教育出版社。  延伸查詢new window
5.Ricoeur, Paul、汪堂家、李之喆(2011)。承認的過程。北京：中國人民大學出版社。  延伸查詢new window
6.Deleuze, Gilles、Guattari, Pierre-Félix、姜宇輝(2010)。資本主義與精神分裂（卷2）：千高原。上海：上海世紀。  延伸查詢new window
7.Larrain, Jorge、戴從容(2005)。意識形態與文化身分：現代性和第三世界的在場。上海：上海教育出版社。  延伸查詢new window
8.Ricoeur, Paul、綦甲福、李春秋(2009)。過去之謎。山東濟南：山東大學出版社。  延伸查詢new window
9.Sutton, Damian、Martin-Jones, David、林何(2016)。德勒茲眼中的藝術。重慶：重慶大學出版社。  延伸查詢new window
10.Deleuze, Gilles、Guattairi, Felix、Hurley, Robert、Seem, Mark、Lane, Helen(1986)。Anti-oedipus: capitalism and schizophrenia。Minneapolis：University of Minnesota Press。  new window
11.北岡誠司、魏炫(2002)。巴赫金--對話與狂歡。河北教育出版社。  延伸查詢new window
12.Rabinowitz, Paula(1994)。They Must be Represented: The Politics of Documentary。Verso。  new window
圖書論文
1.Renov, Michael(1993)。Toward a Poetics of Documentary。Theorizing Documentary。Routledge。  new window
2.Bakhtin, Mikhail(1984)。Dostoevsky's polyphonic novel and its treatment in Critical Literature。Problems of Dostoevsky's poetic。Minneapolis, MI：University of Minnesota Press。  new window
3.Dixson, W. W.(2001)。The long day closes: Terence Davies。Collected Interview: Voices cinema from Twenties-century。Southern Illinois University Press。  new window
4.Ellis, Jack、MecLane, Betsy(2009)。English-langauage documentary in the 1970s: power of people。A new history of documentary film。New York：Continuum。  new window
5.Julien, Isaac、Mulvey, Laura(1992)。'Who is speaking': on nation, community and first person interviews。Frame Framed。New York：Routledge。  new window
6.Mayne, Judith(1992)。From a hybrid place。Frame Framed。New York：Routledge。  new window
7.Nichols, Bill(1994)。The ethnographer's tale。Blurred Boundaries: Questions of meaning in contemporary culture。Bloomington, IN：Indiana University Press。  new window
8.Nichols, Bill(1994)。Performing documentary。Blurred Boundaries: Questions of meaning in contemporary culture。Bloomington, IN：Indiana University Press。  new window
9.Peckham, Linda(2002)。Surname Viet Given Name Nam: spreading rumors and ex/change histories。Screening Asian Americans。New Jersey：Rutgers University Press。  new window
10.Nora, Pierre、韓尚、楊欣(2012)。歷史與記憶之間：記憶場。文化記憶理論讀本。北京：北京大學出版社。  延伸查詢new window
 
 
 
 
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