性別文化空間、影像與公共性：以阿嬤家和平與女性人權館與文化產製品為例

Gender Cultural Spaces, Documentary Film and Publicity: The Comfort Women Museum and Cultural Products

孫嘉穗(Chia-Sui Sun)

《傳播文化與政治》 15期 (2022/06) Pp. 67-86

摘要

本文以台灣的慰安婦博物館「阿嬤家和平與女性人權館」與其衍生之紀錄片【蘆葦之歌】為例，探論性別文化空間與影像如何展現公共性、乘載記憶文化，以及建構性別網絡。阿嬤家和平與女性人權館不僅展現不義歷史的記憶文化，讓慰安婦得以發聲，更讓受害者的個人故事轉化為性別教育的公共資產。透過阿嬤家和平與女性人權館及其相關影像，慰安婦的個人生命故事從私領域到公領域，透過博物館和影像在公共領域與公眾進行溝通，讓身處阿嬤家和平與女性人權館的參與者能深刻體認壓迫的形成，並召喚參與者及閱聽眾的情感共鳴，使更多受不同形式壓迫的阿嬤與女人得以反抗受迫的處境。經由博物館和影像，慰安婦的生命故事與相關經驗得以與社會交織，並串聯多元的性別網絡，以及展現公共價值與理念。

關鍵字

阿嬤家和平與女性人權館 ； 慰安婦 ； 公共價值 ； 性別 ； 公共性

並列摘要

This paper uses the Taiwan Comfort Women Museum, Ama Museum, and its accompanying documentary ＂Song of the Reed＂ as examples to explore how gendered cultural spaces and films show publicity, carry memory culture, and construct gender networks. The Ama Museum not only displays the memory culture and history of injustice, allowing comfort women to speak out, but also transforms the victims' personal stories into public assets for gender education. Through the Ama Museum and its related film, the intimate life stories of the comfort women go from private matters to public domain, and communicate with the public through the museum and film to allow participants in the Ama Museum to deeply understand the formation of oppression, to emotionally resonate with the participants and the audience, and to enable more women to resist oppression in its many forms. The museum and film interweave with society, the full life stories and experiences of comfort women to connect diverse gender networks, and demonstrate public values and ideas.

並列關鍵字

Ama Museum ； comfort woman ； public values ； gender ； publicity