| Summary: | 碩士 === 國立臺東大學 === 公共與文化事務學系南島文化研究碩士班 === 100 === This thesis attempts to understand the four ethnographic films about Indigenous peoples in Taiwan, which were directed by the Taiwanese anthropologist Hu Tai-li. The aim is to interpret the narrative strategy and the aesthetic in the films, as well as explore their significance in the history of Taiwanese ethnographic film.
Hu Tai-li is a first pioneer in the field of ethnographic film on in Taiwan. In 1983, she began to collect footages for her ethnographic films. From then on, Taiwanese ethnographic study is no longer limited in written forms, but open to a new stage of research aspect which contributes to achievements in ethnographic study. In 1983, Hu, Tai-li returned to Taiwan from the US. During 1983 to 2011, altogether she directed 4 ethnographic films on indigenous peoples, which are “The Return of Gods and Ancestors: Paiwan Five Year Ceremony”(1984), “Songs of Pasta'ay” (1988), “Voices of Orchid Island” (1993), “Sounds of Love and Sorrow” (2000). Each of these films has its cultural perspective in the ethnographic field. Also, the director's unique and visual aesthetic is embedded in those films. Those films, shaded in light and shadows as well as blended with scientific rationality and artistic sensibility, give rise to a wide attentions of anthropologists. Additionally, these films cause the public to contemplate and reflect on issues related to the fields.
In This thesis, it begins from the development history of the ethnography, the image ethnography and the Taiwan indigenous ethnographic films.The attempt and correlation of literature the ethnographic film carries on the dialogue, and then, tries to describe these contents in four films, and through Hu Tai-li 's film to produce the systematic article and the written ethnography, which is further to understdand in the cultural messages of the film . Then, under the core question to inquire Hu Tai-li 's ethnographic films and narrative strategy, this thesis extends to inquire about the lucky chance , the narrative strategy, the style in which Hu, Tai-li take these films, as well as the aesthetic characteristics.
I think Hu Tai-li continuously tries to use the imagery to produce a social practice on the anthropology knowledge, which is expectedly to do the contribution on the cultural communication, succession and reflection. She takes the ethnographic film of the indigenous, which not only focus on the record but also hope through recording and displaying, it can stimulate multi-level cultural reflection. Hence, she particularly concentrates on the rationality and the sensibility in the film to expression various types on the narrative, which also promotes the film to aesthetic level. This expression on the film is unique and leads the course of Taiwan anthropology display another research’s achievement. At the same time, she will extend ethnographic film to common people and through transmission of imagery, interpret the local culture and stir up the reflection on different culture
|
|---|
