紀錄運動－紀錄片創作者的影像實踐及其公共文化的生產

緒論：臺灣紀錄影像歷經二十世紀初日本殖民治理與戰後國民政府種種政治高壓與文化審査中漸次破繭而出，並從制式的政令宣傳與新聞紀錄中慢慢建構出具有獨立觀點的影像實踐。但以利潤為重的商業邏輯逐漸邊緣化傳播媒介所應操持的公共利益原則。故此，本文藉由傳播政治經濟學的理論視野來探究紀錄片創作者關於運動紀錄片的影像實踐。方法：本研究以「批判論述分析」方法來分析紀錄片導演的媒體論述文本，釐清紀錄片創作者關於影像生產、流通與消費的文化實踐，突顯運動傳播文化的民主化及其公共文化的生產。結果：紀錄片創作者透過影像實踐，以「多元」抗衡「單面向」；以「真實」抗衡不當的虛假操弄；以「紀錄」抗衡記憶與時間的流逝；以「價值信念」抗衡平庸媚俗；以「深度」對抗淺薄；以「人文關懷」抗衡娛樂至上；以「在地內容」抗衡全球影像的不平衡流動；以「主體價值」抗衡客體化的附庸；以「邊緣」抗衡主流；以「再現弱勢」抗衡權力壓迫。結論：紀錄片創作者的影像作品是臺灣社會進行「集體學習」的公共空間，尤其重視紀錄影像生產、流通放映及消費經驗的「民主化」內涵，意圖轉化商業化傳播框架的消極問題，並以記錄運動來營造更具公共性的運動文化。

關鍵字

紀錄片；影像實踐；傳播政治經濟學；批判論述分析；民主化

並列摘要

Introduction: Taiwan's documentaries began to make breakthroughs only after the Japanese rule in the early 20th century and the post-war political oppression and press censorship of the Nationalist government. Decree promulgation and news record have been cast off, and documentaries with independent viewpoints have gradually emerged. The principle of public interests that ought to be persisted by media but it has been marginalized due to the profit-oriented communication environment. Therefore, this study aims to investigate documentary practitioners' filming practice on sports documentary from the perspectives of political economy of communication. Methods: In order to achieve the purpose of this study, the research adopted critical discourse analysis to analyze the media discourse of documentary directors to understand their viewpoints about the production, distribution, and consumption of documentaries. Results: Through filming practice, the documentary directors counteracted one-dimensional development with diversity, contended against falseness and manipulation with truth, fought against the fading of memory with documenting, opposed the mediocrity and kitsch with value and belief, protested against superficiality with profundity, resisted entertainment-oriented trend and the imbalanced global media flow with humanity and local stories, combatted subordination with the value of subjectivity, fought against power oppression with the representing of minorities, and made a stand against the mainstream with marginal position. Conclusions: Documentary practitioners strive to examine and present the inner connotation of the filming subjects to provide the society with a collective learning space. They attach great importance on the democratization in terms of production, distribution and consumption and try to find solutions to the negative problems caused by commercial communication. They work hard to promote a better culture for public sporting through their filming action.