1996年後,臺灣原住民逐漸掌握影像詮釋的能力,臺灣原住民拍攝的臺灣原住民族紀錄作品雨後春筍般地出現。本文問題意識的起點是當台灣原住民轉身以影像介入有關臺灣原住民個人的、集體的記憶並重新詮釋臺灣原住民族的文化時,族群文化及形象透過紀錄片特有的形式結構會如何呈現?為探究這些題材不盡相同卻都圍繞著港口部落Pangcah族人的紀錄片中揭示了何種臺灣原住民部落之文化與歷史;以及在過去與當代、傳統與現代、群體與個人之間,臺灣原住民族以何種姿態生存,處於何種處境之中。本文以Mayaw Biho(1969)的六部港口部落紀錄片:《如是生活 如是Pangcah》(1998)、《親愛的米酒 妳被我打敗了》(1998)、《季.拉黑子》(1999)、《腳印行動》(2003)、《走一趟故事 Cilangasan》(2003),以及《Malakacaway 倒酒的人》(2006)為分析對象,討論九○年代中期後原住民族裔紀錄片做為一種文化刻寫與再現之方法,如何呈現、構築Pangcah文化之內容與表現對Pangcah精神之追索。 臺灣原住民族裔紀錄片為臺灣原住民一道切面,體現其生活美學與根植在文化之中的精神力。值得注意的是,紀錄片中的真實再現終究挾帶導演的理解與詮釋,並非文化的全部面貌,但是紀錄片做為一種文化敘事,將文化的內涵從部落內部的個人,以及正在變動的部落集體記憶中,投向社會並使其產生意義。於是,在紀錄片的放映與傳播間,可能對相異的文化建立一種新的共識與集體想像,而產生新的理解並創造新的社會價值。
Documentaries directed by indigenous directors can be regarded representation of cultural resistance and the means to fuel social reform and preservation of tribal traditions. This thesis aims to explore six documentaries directed by Mayaw Biho. His career of filming indigenous documentaries began in 1994, and by far, he has directed more than 30 documentaries. The six selected documentaries were filmed at Makuta’ay (港口部落) in Eastern Taiwan. My interpretation of the six documentaries shows how they are constructed in the tribal space and the representation of Pangcah culture. As a cultural narrative, documentary produce meaning by projecting cultural essence of an tribal individual and the shifting collective memory of a tribe to a society. And the display of indigenous documentary should form a collective imagination in a counter culture so to produce new understanding toward ethnic minority and new social value.