原住民紀錄片導演拿起攝影機拍攝自己的族群,將自我感知的原住民意識,透過紀錄片的形式傳遞,保存逐漸凋零的原住民傳統文化;並建立「反論述」抵抗主流霸權,實踐影像主體性。本研究透過生命歷程法,辯證導演個人之生命經驗如何形塑族群認同;並交叉檢證歷史事件,理解導演此一角色在生命軌跡之轉折與其社會脈絡因素。本研究發現,部落經驗是原住民紀錄片導演形塑認同之重要關鍵,部落經驗與都市生活的時序前後,使個人的族群認同產生「衝突型」及「調和型」兩種類別。成為導演此一生命角色滿足「自我實現」需求,且行動內涵趨向「社會取向」。原住民紀錄片導演實踐影像主體性,循著此行動的軌跡,正呼應著臺灣原住民權益發展的變遷。
Indigenous documentary filmmakers use video camera to shoot their own ethnic group and convey indigenous identity and ideology which they are aware of. Documentary films made by these filmmakers not only conserve the aboriginal traditional culture, but also establish the counter-discourse to resist against hegemony from mainstream society and put indigenous subjectivity into practice. This study applies life course analysis to explore indigenous filmmakers’ life experiences which are intertwined with their ethnic identity and broader social context factors. This study finds that tribal life experience is the key factor in shaping the indigenous identity and awareness of these filmmakers. The relationship between filmmakers’ tribal experience and their indigenous identity can be identified as two groups including “conflict-type” and “harmony-type”. This study also reveals that indigenous documentary filmmakers pursue “self-realization” and take social action through filmmaking. Their struggles to pursue indigenous subjectivity reflect and consistent with the development of indigenous rights in Taiwan.