讓靈魂回家 Returning Souls

胡台麗為台灣資深紀錄片導演，國立台灣大學歷史系畢業，獲紐約市立大學研究中心人類學博士；現職為中央研究院民族學研究所研究員，國立清華大學人類學研究所兼任教授，並擔任台灣國際民族誌影展主席。編導製作紀錄片：《神祖之靈歸來》、《矮人祭之歌》、《蘭嶼觀點》、《穿過婆家村》、《愛戀排灣笛》、《石頭夢》、《穿過後》、《讓靈魂回家》等；並出版書籍：《媳婦入門》、《My Mother-in-law's Village: Rural Industrialization and Change in Taiwan》、《性與死》、《燃燒憂鬱》、《排灣族的鼻笛與口笛》、《文化展演與台灣原住民》、《排灣文化的詮釋》等。胡台麗的紀錄片作品曾獲得芝加哥國際影展紀錄片類銀牌獎、休斯頓國際影展金牌評審獎、金馬獎紀錄片首獎、台灣國際紀錄片雙年展評審特別推薦獎、法國Jean Rouch國際民族誌影展非物質文化傳承推薦獎；以及入圍荷蘭荷蘭阿姆斯特丹國際紀錄片影展競賽片、入圍法國馬賽國際紀錄片影展競賽片、入圍義大利日月國際紀錄片影展競賽片，和獲選參加世界各地著名民族誌影展等。胡台麗導演之《穿過婆家村》是台灣第一部在商業電影院放映的紀錄片，並創下票房佳績，掀起了日後台灣紀錄片在商業電影院公映的風潮。   facebook: http://www.facebook.com/profile.php?id=1079237086&ref=tn_tnmn

Hu Tai-Li is currently a research fellow and documentary filmmaker at the Institute of Ethnology, Academia Sinica in Taiwan ; a concurrent professor at National Chin-Hua University, and the president of Taiwan International Ethnographic Film Festival.  After graduating from the History Department of the National Taiwan University, she entered the Graduate School and University Center of the City University of New York, and obtained her Ph.D. degree in anthropology.  She has directed and produced eight documentary films (The Return of Gods and Ancestors, Songs of Pasta’ay, Voices of Orchid Island, Passing Through My Mother-in-law’s Village, Sounds of Love and Sorrow, Encountering Jean Rouch, Stone Dream, After Passing, and Returning Souls) , and published seven books (Daughter-in-law Entering the Door, My Mother-in-law's Village: Rural Industrialization and Change in Taiwan, Sex and Death, Burning Melancholy, Paiwan Nose and Mouth Flutes, Cultural Performances and Taiwan Indigenous Peoples, The Interpretation of Paiwan Culture).. Her films won Taipei Golden Horse Film Festival "The Best Documentary Film Award", Chicago International Film Festival "Silver Plaque Award" , Houston International Film Festival "Gold Special Jury Award", Taiwan International Documentary Festival “Jury’s Special Mention Award”, and Jean Rouch International Ethnographic Film Festival (Paris) "Mention du Patrimoine Culturel Immateriel" Award ; selected for Joris Ivens Competition at International Documentary FilmFestival Amsterdam,International Competition at Marseille International Documentary Film Festival, and International Competition at  Sole Luna International Documentary Festival (Italy); Margaret Mead Film and Video Festival, Gottingen International Ethnographic Film Festival, Bilan du Film Ethnographique (Paris), etc..

胡台麗紀錄片作品年表、參展紀錄與影片內容簡介 Filmography and Film Introductions

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（＊美國人類學刊2008年6月號針對胡台麗的系列紀錄片予以評介。"A Review of Hu Tai-li's Documentary Educational Resources Series"by Marc Moskowitz, American Anthropologist,  June 2008, Vol. 110, No. 2, pp. 248-250. ) 

胡台麗紀錄作品內容簡介：

（1）神祖之靈歸來：排灣族舞年祭（1984）：迎送神祖之靈的「五年祭」（Maleveq）是台灣排灣族部落中規模最大、內容最豐富的祭儀，但至今尚行此祭儀的村落已寥寥無幾。「神祖之靈歸來」是1983年於台東縣達仁鄉土土反村攝製的人類學紀錄片，嚐試從前祭與本祭以竹竿刺球等活動中呈現該排灣族聚落的結構理念與驅禍祈福的情感。五年祭不僅是排灣子民與神祖之靈的相聚，也是傳統與現代的交會。

（2）矮人祭之歌（1988）：「矮人祭」（pasta’ay）是台灣賽夏族最盛大的祭典，每兩年舉行一次。「矮人祭之歌」為1986年賽夏族北祭團於新竹縣五峰鄉大隘村舉行的十年大祭之紀錄。全片以十五首如史詩般形式完整的矮人祭歌片段為貫串，呈現矮人祭的意義，以及賽夏族人在面對內外生存危機時，在尋求族群團結和諧與文化存續發展方面所作的努力。 

（3）蘭嶼觀點（1993）：《蘭嶼觀點》紀錄片的主要內容在呈現蘭嶼雅美/達悟族人的社會價值觀、宗教信仰與傳統生計活動等和外界接觸後所產生的文化困惑、矛盾、調適及衝突。全片透過三種身份的人（漢人人類學者、布農族醫生、雅美/達悟族反核廢運動者）的探索，圍繞著三個主題，以三段形式展現。在第一個段落中我們看到雅美/達悟族人對觀光攝影的抗拒與對金錢的體認與需求；在第二個段落中藉著一位自願在蘭嶼服務的布農族醫生的內在反思與陳述，顯現雅美/達悟族人傳統文化信仰體系在面對現代醫療觀念時所產生的焦慮與困惑；在第三個段落中兩位推動反對核能廢料場設置運動的雅美/達悟族年輕人直接面對鏡，主觀地敘述他們反核廢場的理由。

（4）穿過婆家村（1997）：由於東西向快速道路即將穿過劉厝村而過，本片作者胡台麗回到她的婆家村落劉厝，也是她十幾年前以外省媳婦身份進入的第一個人類學田野，為這個台灣農村留下變遷的容顏。全片以道路興建而引起的田地房舍徵收事件為貫穿主軸。隨著兩期稻作的時序轉換，以親切自然的風格，在日常生活儀節中呈現村人對土地、祖先、神鬼、婦女、都市化、工業化、村舍拆遷等的態度。作者企圖在影像中尋找台灣人面對急遽變遷時的安身立命之道。

（5）愛戀排灣笛（2000）：台灣南部的排灣族有相當豐富而多樣的鼻笛與口笛吹奏傳統。本片透過四位與排灣笛結下不解之緣的代表性人物，在優美哀淒的笛聲所伴隨的日常生活中呈現出排灣文化中最深沈的情感與美感經驗。年長者津津有味地談論著難忘的青春戀情，有喜悅，也有階級社會造成的悲情。雙管鼻笛聲模仿百步蛇的叫聲，哭訴著個人與族群哀傷的命運；單管與雙管口笛也傾吐著對舊居土地與優美傳統的思戀。排灣族創始傳說中的百步蛇、太陽、陶壺、熊鷹在影片中與笛聲結合，成為排灣族愛戀與哀思之情的象徵。

（6）石頭夢（2004）：陳耀圻導演在1965年攝製了台灣紀錄片史上第一部真實電影「劉必稼」。片中主角劉必稼是1940年代在大陸農村被抽壯丁而隨著蔣介石總統來台灣的軍人。他在退伍前到台灣東部河川地挑石頭，開闢田地。數十年後，本片導演胡台麗在花蓮木瓜溪畔的一個農莊中發現了劉必稼，便以攝影機紀錄這個由外省老兵與他們來自台灣不同族群的妻子（大多是原住民，也有閩南與客家人）及兒女所組成的新移民聚落。「石頭」是本片最重要的象徵，將辛苦在石堆中開墾的劉必稼這一代和喜愛撿拾與玩賞石頭的劉必稼兒子這一代連繫起來。劉必稼和他的家人如同玫瑰石般外表黝黑平凡，內裡卻蘊含瑰麗高雅的景緻，在片中悠遠質樸的古琴聲伴隨下，與溪流浪花共織夢想。

（7）穿過後（2006）：繼反映台灣農村變遷的紀錄片《穿過婆家村》後，導演再次以《穿過後》紀錄了劉厝村人在新建的中彰快速道路高架橋下，創造了新的生活模式，呈現人對環境的高度適應力。劉厝村民仍不斷祈求神明護佑，與快速道路的車流及筏子溪的水流為伍，一同奔向未來。

（8）讓靈魂回家（2012）：台灣母系阿美族文獻中最有名的太巴塱Kakita’an祖屋柱子上有許多圖紋，講述著這個太陽母神後裔包括大洪水、會發光女孩、兄妹婚、巫師降世，以及弒父與獵首起源等神奇傳說。1958年大颱風將祖屋吹倒後，這些柱子被搬移到中研院民族所博物館收藏。近年在太巴塱年輕人的積極推動下，透過女巫師的媒介，讓Kakita’an家族和村落代表與柱子中的祖靈接觸、對話，最終將祖靈請回部落並展開祖屋重建。在外來宗教影響、土地所有權爭議與複雜的部落文化生態中，年輕人想找回太巴塱祖靈及部落靈魂的文化復振夢想遭遇許多困難。這部紀錄片將神話傳說與現實、看得見的與看不見的交織，記述這個特殊而動人的歸還與重建事件。

 Synopsis of Hu Tai-Li's Documentary Films

(1) The Return of Gods and Ancestors-The Five Year Ceremony (1985):The Return of Gods and Ancestor is the first ethnographic film made in Taiwan. Under extremely low budget, anthropologist Hu Tai-Li recorded with a hand-cranked Bell & Howell 16 mm camera the most magnificent five year ceremony in Paiwan tribe. The shooting ratio was only 3:1. The Paiwan people on the one hand expected to receive blessings of the gods and ancestors through piercing rattan balls with extended bamboo poles; on the other, they tried to prevent any harm caused by the evil spirits. During the filming processes, the competitive chiefs were stimulated to reveal the cultural structure in front of the camera. The Paiwan five year ceremony is not only the reunion of the dead and the alive, but the meeting of tradition and modernity.

(2) Songs of Pasta'ay(1989): The Pasta’ay, which means the festival of the legendary little people, is a significant ritual held every other year in the Saisiat aborigine group in Taiwan. Every ten years, they hold the Great Ritual. This film focuses on the Great Ritual in 1986. It tries to convey the Saisiat people’s affection for and belief in the legendary little people. At the same time, the film brings in to light Saisiat people’s ambivalence towards tourist invasion, and their dilemma of being caught between tradition and modernization. Structured by the Pasta’ay songs’ movements, the film breaks down to 15 chapters. It carefully juxtaposes the visual with the aural elements, which are conveyed in the conceptual dichotomy between “the real” and “the artificial” .

(3) Voices of Orchid Island (1994):As the film begins, one Orchid Islander says, "I often feel that the more research anthropologists do on this island, the worse the island is harmed..." This work is the visual anthropologist’s recorded answer to this question.    The film director tries to use the camera to explore the disillusionment and frustration of the Yami people and of herself included. She moves between the islanders and outsiders, using people of three identities and three appearances to reflect on the contradictions and conflict that follows with the meeting of the Yami people and external influences.    Fear of tourists? In the first part we observe Yami (Orchid Islanders) opposition to the spectators' cameras and the perception and requirements of money. Fear of evil ghosts? The second part reveals a Bunun who volunteered as a medical doctor to serve in Orchid Island telling of his own inherent doubts and reveals the worries and frustrations vis-à-vis modern medical concepts and local traditional beliefs. Fear of the nuclear waste plant? In the third part two young local nuclear protesters and demonstration organizers face the camera directly and tell their personal reasons for their actions. They speak of their own special way of life and the threat of its destruction. After the film was completed it toured the villages of Orchid Island and received enthusiastic responses.  

(4) Passing Through My Mother-in-law's Village(1998):The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The film maker went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life forever. This film was shot in a natural and intimate climate. During the annual two harvests, various activities in daily life and festivals were presented in the film reflecting the villagers' attitudes towards gods, ghosts, ancestors, women, farmlands, urbanization, industrialization, reclamation and resettlement. The film maker attempted to reveal the Taiwanese way of facing drastic social changes.

(5) Sounds of Love and Sorrow (2000): “Sounds of Love and Sorrow” lets the eerie sounds of the Paiwan flutes including the nose flute, which legend says imitates the call of the deadly hundred-pace snake, mix in with the recollections of tribal elders and traditional tales to present a rich background of Paiwan life in Taiwan.  Tribal elders recall the days of the youth and their romances. They tell of the creation of the Paiwan people, and lament the end of tribal life, crushed by the irresistible and contradictory forces of government policies and alien cultural influences. Talking of love, both the charm and cruelty of a traditional society are revealed. For many of the Paiwan, love may be a high point of a young life – but it is also the gateway to sorrow. But in the end, it is the high spirits, the playful romances and the family spirit of the Paiwan which shine through. 

(6) Stone Dream (2004): This film touches the sensitive issue of national and ethnic identity in Taiwan. In the first Taiwanese observational documentary, “Liu Pi-Chia,” made by Director Chen Yao-Chi in 1965, the main character Liu Pi-Chia was press-ganged into the army in China and came over to Taiwan with President Chiang Kai-Shek. After several decades, we unexpectedly met Liu in a village on the banks of the Mukua River. This new immigrant village consists of mainland veterans whose wives are from different ethnic groups, mostly Aborigines. Stones, the most important symbols of this film, link Liu Pi-Chia’s generation, who worked hard on the stony riverbed to reclaim land, and the new generation of Liu Pi-Chia’s son, whose interest is collecting rose stones for artistic and economic purposes. Liu Pi-Chia and his family are like rose stones, which are black and unattractive on the outside, but cut open or polished, reveal wonderful scenes. This film, accompanied by classical Chinese lute music, presents the flow of stone dream.

(7) After Passing (2006): In "After Passing", a follow-up of the previous documentary "Passing Through My Mother-in-law's Village", the director reflects the changes of Liu Ts'o Village caused by the newly built expressway. The Liu Ts’o villagers created a new lifestyle under an overpass, presenting human being’s great ability to adapt to the changing environment.

(8) Returning Souls (2012) : In the historically most famous ancestral house of the matrilineal Amis tribe in Taiwan, the carved pillars tell legends, such as the great flood, the glowing girl, the descending shaman sent by the Mother Sun, and the father-killing headhunting event. After a strong typhoon toppled the house 40 years ago, the pillars were moved to the Institute of Ethnology Museum. Recently young villagers, with assistance from female shamans, pushed the descendants and village representatives to communicate with ancestors in the pillars. They eventually brought the ancestral souls（rather than the pillars）back and began reconstructing the house. In an environment highly influenced by western religions, national land policy, and local politics, the dream of the young people for cultural revitalization and to bring back not only the ancestral souls but also the soul of the village encountered many frustrations. This documentary interweaves reality and legends as well as the seen and the unseen as it records the unique case of repatriation.