工藝的影像，影像的工藝 －傳統工藝紀錄片的思考與實踐

A Study about Documentary of Taiwan Traditional Craft

曾思龍(Sz Lung Tzeng)

指導教授 ： 江韶瑩

國立臺北藝術大學/文化資源學院學術論文/傳統藝術研究所/碩士(2011年)

https://doi.org/10.6835/TNUA.2011.00114

摘要

隨著錄像科技的工具與技術日益便利與普及，影像的運用日益普遍，如同文字民族誌再現田野調查的成果，是否影像也能依其直觀形象、連續動態等特性作為田野調查的工具和研究觀點呢？如果以紀錄片作為傳統工藝的再現形式，傳統工藝紀錄片和其它主題的紀錄片其表意系統的概念和合理化的社會過程是否有所區隔呢？學術界應該如何使用影像於傳統工藝的保存記錄、維護、研究和推廣呢？
本研究雖然是以紀錄片文本為分析對象，但不同於其它傳播學、影視學脈絡下的文本分析，而是將紀錄片放置在文化資產的概念與脈絡下，關注傳統工藝如何透過紀錄片的再現模式，呈現無形文化資產的意義：維護世界文化多樣性的客觀需求， 也是強化人們文化自覺意識和族群情感認同的有效方式；並透過研究者經歷傳統藝術研究所的民族誌之訓練和拍攝文化資產紀錄片的經驗和困境，從理論和實務的交互印證中，試圖找出台灣文化資產紀錄片攝製的實踐與思考。本研究以國立台灣工藝研究發展中心出版之「台灣工藝薪傳錄」系列紀錄片為文本，先從敘事分析、符號學和類型研究理論，發掘此系列紀錄片以影像和訪談建構的故事和文化意義，再以Bill Nichols提出的紀錄片理論檢視本片的攝製模式，是否足以再現傳統工藝的內涵？最後對照世界紀錄片發展模式、傳統工藝認識論、聯合國教科文組織無形文化遺產保護公約、文化人類學物質文化研究、文化研究學派、後現代主義等理論，在客觀紀錄、研究觀點和影像美學的交叉辯證中，提出文化資產意涵下傳統工藝紀錄片的理論與實踐。

關鍵字

傳統工藝 ； 紀錄片 ； 無形文化資產

並列摘要

The ancient murals reveal the human desire to record visible things and to comprehend them. It shows that “image” is the earliest ability of human beings to comprehend the outside world. When people behold and try to comprehend the world, they are least conditioned by abstract symbols; and moreover, they can comprehend the messages almost directly from the motion pictures. The use of direct images is much earlier than that of the abstract, logical or text symbols we now use. As video technology and tools are getting more convenient and popular, so are the image usages. Like the research results of text ethnography, can images also be a tool and research perspective by its direct visual pictures with continuous and dynamic features? If the documentary is a reproduction form of traditional crafts, can it be differentiated from other documentary on the concepts of the ideographic system and the rationalized social process? How can it be used academically in recording, maintaining, researching and promoting the traditional crafts?

Unlike the mass communication media, the text analysis of the study is based on the concepts of cultural assets with a focus on the reproduction form to demonstrate intangible cultural assets: the objective needs to maintain the diversities of the world culture and to strengthen the cultural consciousness and ethnic identity effectively. By the training of ethnography in the Graduate School of Traditional Arts and the experiences and difficulties of filming documentary of cultural assets, the researcher tries to discover the practice and thinking perspective of Taiwan’s cultural assets with the interactive proofs. Based on the documentary of “Heritage of Taiwan Traditional Crafts” published by National Taiwan Craft Research and Development Center, the researcher first tries to discover the constructive story and its cultural significance by narrative analysis, semiotics and type of theory. Secondly, the researcher attempts to examine that if it can reproduce the content of traditional crafts by Bill Nicholas’ filming theory. Finally, in contrast of the world documentary code, the traditional crafts epistemology, the protection of intangible cultural heritage of the UNESCO Convention, the anthropological material culture studies, culture studies approach and post modernism, the theory and practice of the meaning of cultural assets under traditional crafts documentary are proposed.

並列關鍵字

traditional crafts ； documentary ； intangible cultural assets

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