本文試將當代台灣文學紀錄片分為三種模式,探究文學與影像的跨媒介創作與敘事策略,提出當代台灣文學紀錄片生產現象的初步觀察。第一種模式為傳記式作家紀錄片,以單一作家為傳主,作家生平、創作歷程與代表作品為敘事主軸。第二種模式為風格化的文學電影,導演以自身對作家的詮釋佐以影像美學,結合商業化的宣傳手法,以推動台灣文學閱讀為目的。第三種模式為實驗電影,以前衛的音像部署策略,挑戰文學紀錄片的傳統,揭開文學史上邊緣化的跨界域文藝風貌,亦佈置創新的觀影情境誘發觀者進入文學世界。本文認為當代文學紀錄片的生產,除了依循新世紀紀錄片「個人化、藝術化與商業化」的趨勢發展以外,文學紀錄片的傳播功能亦可延續文學的生命。
This study categorizes contemporary Taiwanese literary documentaries into three modes, investigating the processes of intermedial creation between literature and documentary and exploring the narrative strategies to offer a preliminary observation of the production of contemporary literary documentaries. The first mode - autobiographical documentary - focuses on a single writer and his background, writing, and representative works. In the second mode - stylized literary filmed - filmmakers adopt their interpretation of the filmed writer and filmic aesthetics along with commercialized promotion to publicize literature. The third mode - experimental film - aims to highlight the marginalized cross-regional phenomenon and to guide the audience to the literary world through avant-garde strategies. Accordingly, this study proposes that in addition to the trend of documentaries in the new century - individual, artistic, and commercial - the production of these literary documentaries also extends literary afterlives.