臺灣的電影環境,長期以劇情片占據主導地位,觀眾已十分熟悉劇情片的敘事模式,例如:以主要演員或明星為軸心、因果邏輯明確的敘事,都成為觀眾觀影時最主要的線索。此外,從觀影習慣到影展評選的標準與取向,也都可窺見好萊塢的評判方式和機制的複製,甚至於主要綜合性影展,也都以劇情片為多數觀眾關注的焦點,實驗電影幾乎成為缺席者。本論文首先透過文獻的回顧與分析,釐清實驗電影自西方生成延伸至今的演變,進而探討當代實驗電影的位置與價值。其次,透過臺灣電影放映機制與現況的描述,反思「黃亞歷實驗短片放映會」在此其中的特殊性與實驗性。最後,聚焦於此放映會的過程分析,針對共同參與者之間的權力關係問題進行探論,再則鎖定映後座談中觀眾的分享,透過相異的知識背景�生活經驗而產生解讀電影的各式風貌,描摹以個別觀眾為主體的想像行動,並進一步思考此放映會所輻射出的對話多樣性。
Taiwan’s cinema has long been dominated by drama films. The audience is well accustomed to the common narratives, e.g. stories with obvious causal relationships centring on lead actors or movie stars – often the essential cues for viewers. Also it is easy to find a critical approach and mechanism replicating that of Hollywood, from viewing habits to judging criteria and directions of film festivals. Even at major multi-genre film festivals the audience is generally partial to drama, whilst experimental films are almost entirely absent. This thesis will, first of all, clarify the development of experimental cinema originated in Western cultures, through literature review and analysis, and further discuss the status and significance of contemporary experimental cinema. Secondly, through identifying the logistics and contemporary circumstances of Taiwan’s film industry, the thesis will reflect on the nonconformity and originality of the Huang Ya-Li Experimental Shorts Screenings. Finally, focusing on the experience of the screenings, it will examine the power relations amongst the participants. The audience’s feedback during the post-screening discussions will then come under scrutiny; distinct interpretations resulted from various knowledge backgrounds and life experiences portray the viewers' individual pursuits of imagination, beckoning further thoughts on the diversity of communication radiating from the event.