The Disaster Representation of Taiwan Documentary: Taking Luo Xingjie, Yang Lizhou and Huang Xinyao as Examples

• Main Authors: Ya-Ting Chang, 張雅婷
• Other Authors: 劉智濬
• Format: Others
• Language: zh-TW
• Published: 2017
• Online Access: http://ndltd.ncl.edu.tw/handle/k86dy3

碩士 === 國立中興大學 === 台灣文學與跨國文化研究所 === 105 === The paper attempts to explore the represenation of natural disasters in Taiwan post-disaster documentaries and aims at analyzing three main types of documentaries in Taiwan: the social movement type, the mainstream production type and the idiosyncratic creation type. Three documentary directors, Shin-Chieh Lo, Li-chou Yang and A-yao Huang, are respectively chosen to correspond with the three types mentioned above. This paper intends to go through the life background and the creation progression of the three directors, establish the relationship of their individual documentary styles and the historical development of Taiwan documentaries, and inspect how they represent disasters through the viewpoints of their unique types. On one hand, through the perspectives of the documentaries upon the cataclysm-stricken areas, this paper scrutinizes the representation of these documentaries, trying to excavate the disasters caused by political, social, and financial factors; on the other hand, it also aspires to analyze how the aesthetics and filmmaking ethics behind the three different types of documentaries affect the styles of representation. As for the criteria of the selection, the early works of the above three directors are deliberated to trace the individual creation genealogy and their respectively idiosyncratic styles. Based on the axis of the representation of disasters, the documentaries shot by the three directors mentioned above after Typhoon Morakot(a.k.a. August 8th Flooding) are singled out to be the topic for discussion, including Shin-Chieh Lo’s A Gift for Father’s Day(2010) and its sequel A Gift from the Sky(2013), both of which depict the process of reconstruction after the wiping off of Siaolin Village; Li-chou Yang’s mainstream production, Bridge over Troubled Water(2013), which focuses on the relationship between the post-disaster reconstruction and the children on the Jiaxian Elementary School tug of war team as well as the new immigrant women; A-yao Huang’s Taivalu(2012), inspecting the issue of global warming after typhoon Morakot, and A-li 88(2013), exploring the problem of environmental justice behind the Mount A-li highway repairing.