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 AncestorsSongs of Pasta’ayVoices of Orchid IslandPassing Through My Mother-in-law’s VillageSounds of Love and SorrowEncountering Jean RouchStone 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

(more....)

(*美國人類學20086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. ) 

2012

Returning Souls. documentary film, DVD color, 85 minutes. Director / Producer : Hu Tai-Li; Photographer: Lee Jong-Wang, Hu Tai-Li; Editors:Hu Tai-Li, Wu Shu-Ting. Co-produced by The Institute of Ethnology, Academia Sinica, Taiwan. Taipei, Taiwan.  Distributed by Documentary Educational Resources.*Won 2012 Jean Rouch International Ethnographic Film Festival (Paris) "Special Mention of the Intangible Cultural Heritage Award" ( "Mention du Patrimoine Culturel Immateriel Prix"); won 2013 WorldFest-Houston Ethnic/Cultural category Gold Remi Award; selected for competition at 2012 Sole Luna International Documentary Festival (Italy); selected for 2012 Moscow International Festival of Visual Anthropology; selected for 2012 Women Make Waves Film Festival (Taipei); selected for 2012 Society for Visual Anthropology  Ethnographic Film Festival (San Francisco); selected for AAS (Association for Asian Studies) 2014 Film Expo. (Philadelphia); selected for 2014 Göttingen International Ethnographic Film Festival (Germany) . Reviewed by Ruth E. Toulson, in Visual Anthropology, 25:450-451,2012. Reviewed by Kate Hennessy, in American Anthropologist, Volume 115, Issue 1, pages 140-142, March 2013.

2012

讓靈魂回家。民族誌紀錄片,DVD85分鐘。胡台麗導演/製片;李中旺、胡台麗等攝影;胡台麗、吳舒婷等剪輯。中央研究院民族學研究所協同製作。台北。*獲得2012法國巴黎Jean Rouch國際民族誌紀錄片影展「非物質文化傳承推薦獎」;獲2013美國休士頓國際影展「影視製作族群與文化類」金牌獎;入選2012義大利Sole Luna 國際紀錄片影展競賽片;入選2012莫斯科國際視覺人類學影展;入選2012台灣女性影展;入選2012美國視覺人類學會民族誌影展(舊金山); 入選美國亞洲研究學會AAS 2014影展(費城);入選2014德國哥丁根國際民族誌影展。Visual Anthropology學刊Ruth E. Toulson影評(2012年,25:309 -311); American Anthropologist學刊 Kate Hennessy影評(2013年,115卷,第1期,頁 140-142)。

2006b

After Passing. documentary film, DVD, 11minutes. Director: Hu Tai-Li; Photographer: Hu Tai-Li, Lee Jong-Wang, Lin Jin-Lien; Editor: Hu Tai-Li,Xiao Ru-Guan.  Taichung: National Taiwan Museum of Fine Arts.  Distributed by Documentary Educational Resources. *Premiered at 2006 Taiwan International Documentary Festival; selected for competition at 2007 RAI International Festival of Ethnographic Film (Manchester); selected for 2007 Women Make Waves Film Festival (Taipei); selected for 2007 EthnoFilmfest (Ethnologisches Museum Berlin).

2006a

穿過後。民族誌紀錄片,DVD11分鐘。胡台麗導演;胡台麗、李中旺、林金連攝影;胡台麗、蕭汝冠剪輯。中央研究院民族學研究所協同製作。 臺中:國立臺灣美術館。2006臺灣國際紀錄片雙年展首映 ;入選2007第十屆英國皇家人類學會國際民族誌影展競賽片;入選2007台灣女性影展;入選2007德國柏林民族學博物館民族誌影展。

2004b

Stone Dream. 16 mm documentary film, color, 79 minutes. Director / Producer / Recorder: Hu Tai-Li; Photographer: Lee Jong-Wang; Editors:Chen Bo-Wen & Liu Chun-Hsiu. Co-produced by The Institute of Ethnology, Academia Sinica, Taiwan. Distributed by Documentary Educational Resources.   *Selected for Joris Ivens Competition at 2004 International Documentary FilmFestival Amsterdam; selected for 2004 Taipei Golden Horse Film Festival and won the Best Filmworker Award; won 2004 Golden Tassel Film Festival the Excellent Film Award(Taipei); selected for 2005 Bilan du Film Ethnographique (Paris); selected for 2005 South Film Festival (Israel); selected for 2005 Nanookfilmfest (Palermo, Italy); selected for 2006 Gottingen International Film Festival; selected for 2006 Taiwan Film Festival(Musée d'ethnographie de Genève); selected for 2006 DocuLens Asia (Institute of Advanced Studies, University of Minnesota). Reviewed by Murray A. Rubinstein, in Visual Anthropology 20(4): 309 -311, 2007.

2004a

石頭夢。十六釐米紀錄片,彩色,79分鐘。胡台麗導演、製作、錄音;李中旺攝影; 陳博文、劉春秀剪輯。中央研究院民族學研究所協同製作。*胡台麗發表之影片說明文章:「《石頭夢》影音隨想」,刊於中國時報人間副刊,2005年2月17日)。*入選2004年荷蘭阿姆斯特丹國際紀錄片影展競賽片;入圍2004金馬獎最佳紀錄片並獲年度最佳電影工作者獎;獲2004金穗獎優等影片;入選2005年法國巴黎國際民族誌影展;入選2005年以色列南方影展;入選2005年義大利那努克影展;入選2006年德國哥丁根國際民族誌影展;入選2006日內瓦台灣電影節(日內瓦民族學博物館);入選2006明尼蘇達亞洲紀錄片論壇開幕片(明尼蘇達大學高等研究院)。Visual Anthropology學刊Murray A. Rubinstein影評(2007年第20卷第4期,頁309 -311)。

2003b

Encountering Jean Rouch. DV. 11 minutes. Filmed by Hu Tai- Li, edited by Hu Tai-Li & Liao Jiaw-Yu. Distributed by Documentary Educational Resources.  *Screened at 2003 Taiwan International Ethnographic Film Festival; selected for 2004 Bilan du Film Ethnographique (Paris); selected for 2004 Gottingen International Film Festival.

2003a

遇見尚胡許。DV紀錄片,11分鐘。胡台麗導演、攝影;胡台麗、廖兆瑜剪輯。*2003臺灣國際民族誌影展發表;2004雲南國際視覺人類學會議邀展;2004法國巴黎國際民族誌影展邀展;2004德國哥丁根國際民族誌影展邀展。

2000

Sounds of Love and Sorrow.16 mm documentary film, color, 86 minutes, Director / Producer / Recorder: Hu Tai-Li; Photographer: Lee Jong-Wang; Editors: Hu Tai-Li & Xiao Ru-Guan. Co-produced by The Institute of Ethnology, Academia Sinica, Taiwan. Distributed by Documentary Educational Resources.  *Won Jury's Special Mention Award at 2000 Taiwan International Documentary Festival; selected for International Competition at 2001 Marseille International Documentary; selected for 2001 Film & Video Festival of American Anthropological Association Meeting; selected for 2002 Bilan du Film Ethnographique (Paris); selected for 2003 RAI International Festival of Ethnographic Film(England); selected for 2007 Nordic Anthropological Film Association International Conference in Visual Anthropology (Trondheim, Norway). Reviewed by Lindy Li Mark in American Anthropologist ( Dec. 2001,Vol. 103: 1159-1160).

2000

愛戀排灣笛。十六釐米紀錄片,彩色,86分鐘。胡台麗導演、製作、錄音;李中旺攝影;胡台麗、蕭汝冠剪輯。中央研究院民族學研究所協同製作。 *胡台麗發表之影片說明文章:「愛戀排灣笛的真與幻」,刊於聯合報副刊,2000年11月3日)。 *2000年臺北國際紀錄片雙年展影片類評審特別推薦獎;入選2001年法國馬賽國際紀錄片影展競賽片;入選2001年美國人類學會年會影展;入選2002年法國巴黎人類博物館主辦之國際民族誌影展;入選2003年英國皇家人類學院國際民族誌影展;入選2007北歐視覺人類學大會影展(挪威Trondheim)。美國人類學刊Lindy Li Mark影評(200112月,103期,頁1159-1160)。

1998

Passing Through My Mother-in law's Village. 16 mm documentary film, color, 87 minutes. Directed and produced by Hu Tai-li; Photographers: Yu Shi-yung&Zhang Yu-hsun; Editors: Hu Tai-Li & Chen Le-Zen. Taipei: Institute of Ethnology, Academia Sinica.  Distributed by Documentary Educational Resources. *Selected for 1998 Gottingen International Ethnographic Film Festival (Germany); selected for 1998  Parnu International Documentary and Anthropological Film Festival (Estonia); selected for 1998 Margaret Mead Film Festival (New York); selected for 1999 Beeld voor Beeld Festival ( Amsterdam).  

1997

穿過婆家村。十六釐米紀錄片,彩色,有聲,87分鐘。胡台麗導演、製作;余是庸、張毓軒攝影;胡台麗、陳樂人剪輯。中央研究院民族學研究所出品。 *胡台麗發表之影片說明文章:「穿過婆家村:《媳婦入門》新版自序」,刊於時報出版社於1997年10月新版之《媳婦入門》,頁10-26。*入選1998年德國哥丁根國際民族誌影展;入選愛沙尼亞國際紀錄片與人類學影片展;入選1998年紐約瑪格麗特米德紀錄影片展;入選1999荷蘭國際民族誌影展。

1994

Voices of Orchid Island. 16 mm documentary film, color, 73 minutes. Directed by Hu Tai-Li; Photographer: Lin Jen-Shiang; Editors/ Procucers : Hu Tai-Li & Daw-ming Lee.  Distributed by Documentary Educational Resources. *Won 1993 Taiwan Golden Horse Film Festival the Best Documentary Film Award; won Silver Plaque Award (documentary film, arts/humanities category) at 1994 Chicago International Film Festival; selected for 1994 Bilan du Film Ethnographique (Paris); selected for 1994 Gottingen International Ethnographic Film Festival (Germany); selected for 1995 Margaret Mead Film Festival (New York); selected for 2014 IAWRT Asian Women's Film Festival (New Delhi). 

1993

蘭嶼觀點。十六釐米紀錄片,彩色,有聲,73分鐘 。胡台麗編導; 胡台麗、李道明共同製作、剪輯;林建享攝影。中央研究院民族學研究所出品。 *胡台麗發表之影片說明文章:「《蘭嶼觀點》的原點:民族誌電影的實踐》,刊於1993《電影欣賞雜誌》66期。*本片獲得1993年金馬獎「最佳紀錄片」;入選 1994年法國巴黎人類博物館主辦之國際民族誌影展;入選1994年德國哥丁根國際民族誌影展;獲美國芝加哥國際影展紀錄片藝術與人文類「銀牌獎」;入選1995年紐約自然史博物館主辦之瑪格麗特米德紀錄片影展;入選2014印度亞洲女性影展(新德里)。

1989

Songs of Pasta'ay.16mm documentary film, color, 58 minutes. Directed and edited by Hu Tai-Li& Daw-ming Lee ; Producer: Hu Tai-Li; Photographer: Chang Chao-Tang. Published by the Institute of Ethnology, Academia Sinica, Taipei.  Distributed by Documentary Educational Resources. *Selected for 1989 Margaret Mead Film Festival (New York); selected for 1990 Bilan Du Film Ethnographique (Paris); selected for 1990 Royal Anthropological Institute Film Festival (Manchester); won 1990 Houston International Film Festival Gold Special Jury Award.

1988

矮人祭之歌。十六釐米紀錄片,彩色,有聲,58分鐘。胡台麗製作、編劇;胡台麗、李道明導演、剪輯;張照堂攝影。中央研究院民族學研究所出品。胡台麗發表之影片說明文章:「矮人祭之歌 :人類學的影像思考」刊於中國時報人間副刊,1988年11月26日。*本片入選1989年美國紐約自然史博物館主辦之瑪格麗特米德紀錄片影展;入選1990年法國巴黎人類博物館主辦之國際民族誌影展;入選1990年英國皇家人類學會主辦之國際民族誌影展;獲1990年美國休斯頓國際影展族群文化紀錄片「金牌特別評審獎」。

1985

The Return of Gods and Ancestors: Paiwan Five Year Ceremony. 16mm ethnographic film, color, 35minutes. Directed and produced by Hu Tai-Li; Co-cinematographed and co-edited with Jean Chien. Published by the Institute of Ethnology, Academia Sinica,Taipei.  Distributed by Documentary Educational Resources. *Selected for 1985 Margaret Mead Film Festival, American Museum of Natural History, New York. Reviewed by William Graves III in American Anthropologist, 1987, Vol. 89, No.1: 263- 264.

1984

神祖之靈歸來:排灣族五年祭。十六釐米紀錄片,彩色、有聲,35分鐘。胡台麗導演、製作;胡台麗、錢孝貞攝影、剪輯。中央研究院民族學研究所出品。*入選1985年美國紐約自然史博物館主辦的瑪格麗特米德紀錄片影展。American Anthropologis學刊影評(1987, Vol. 89, No.1: 263-264.

 

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 soulsrather than the pillarsback 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.

   

returningsouls 發表在 痞客邦 PIXNET 留言(1) 人氣()


留言列表 (1)

發表留言
  • 楊冀華
  • 前天,(101.9.27)觀賞了水噹噹及女性影展的《讓靈魂回家》記錄片賞析。我當場請教製作人兼導演中研院社會所胡臺麗研究員稱:請教您,靈魂回家了嗎?其回應及解釋稱是,我卻仍反對。討論最後,我再跟胡研究員討論稱:我肯定的告訴您,靈魂沒有回家!因為,Kakita'an、十字架及虛無主義三者未調節,尤其是虛無主義(權利意識)的斷裂及紛爭,靈魂乃確定的沒有回家!胡研究員愕然……