移動中的原住民視界：從陳潔瑤電影重新想像跨太平洋關係

Indigeneity in Motion: Reconfiguring Transpacific Relations in Laha Mebow’s Films

謝雅茹 (Limuy Asien)(Ya-Ju Hsieh)

指導教授 ： 柏逸嘉

國立臺灣大學/文學院/外國語文學研究所/碩士(2021年)

https://doi.org/10.6342/NTU202103691

摘要

本論文旨在探討泰雅族原住民導演陳潔瑤 (Laha Mebow) 所拍攝之三部電影長片中對於原住民經驗的闡述，並且主張此三部電影──包括《不一樣的月光》（2011）、《只要我長大》(2016)，與《漂流遇見你》(2017)──呈現了脆危移動中的原住民世／視界。本論文聚焦於臺灣原住民歷經日本殖民統治、國民黨獨裁和後解嚴時代以及新喀里多尼亞原住民歷經法國殖民統治之際生存與復甦的經驗，並且點出陳潔瑤電影作品中所展現的原住民解殖行動有可能助於我們重新想像原住民與定居殖民者和原住民之間的族群關係。論文第一章首先討論民族國家治理原民性的侷限以及原住民在被殖民的歷程中浮現的現代政治身份。本章節試圖以超越帝國與國家的框架去檢視亞太地區原住民自決的體現，並且引介跨太平洋研究中的重要發展，強調該領域對於(重新)形塑原住民研究架構的日益關注。第二章分析《不一樣的月光》如何藉由多重的記憶、景框與敘事手法來呈現電影和論述對臺灣原住民的試圖捕捉，同時揭示再現原住民主體的困難。第三章探討《只要我長大》中定居式殖民主義對於原住民角色持續性的影響，並且關注原住民對於健康和身心障礙的多元認識以及原住民在當代社會政治結構中的(非)移動方式。第四章將焦點轉向《漂流遇見你》中連結臺灣與新喀里多尼亞原住民音樂家的創作計畫，並將此音樂交流視為探尋原住民跨太平洋文化政治動員的起點。第五章總結本論文，反思原住民電影的重要性以及作為一位原住民在臺灣的外國語文學系進行此研究的意義。透過討論「移動中的原住民世／視界」，本論文試圖拓展原住民跨太平洋的願景──一個具有世界性的、有未來的願景。

關鍵字

陳潔瑤 ； 移動 ； 臺灣 ； 新喀里多尼亞 ； 原住民電影 ； 原住民研究 ； 跨太平洋研究

並列摘要

This thesis investigates articulations of Indigenous experiences in the feature-length films of Indigenous Atayal director Laha Mebow by discussing these films as a cinema depicting Indigeneity precariously in motion. Bringing into focus Indigenous stories of survival and revival that span across the French empire, the Japanese colonial regime, the Kuomintang dictatorship era, and post-dictatorship rule in Taiwan, this thesis suggests that Laha Mebow’s films point to Indigenous decolonizing projects that may help us to reimagine and potentially transform Indigenous-settler and Indigenous-to-Indigenous relations. Chapter One addresses the limits of nation-state arrangements of Indigeneity and the formation of “Indigenous” modern political identities. Seeking to move beyond imperial and national frameworks, this chapter considers Indigenous articulations of self-determination in Asia and the Pacific. It also reviews key developments in the emerging field of transpacific studies, underlining the increasing attention drawn to Indigenous (re)framings of this field. Chapter Two engages with attempted cinematic and discursive captures of Indigenous peoples in Taiwan by foregrounding the multiple layers of remembering, framing, and storytelling depicted in Finding Sayun (2011), a film that reveals the challenges of representing Indigenous subjects. Chapter Three examines the continuing effects of settler colonialism on Indigenous characters in Hang in There, Kids! (2016) and calls for a more nuanced understanding of Indigenous notions of health and disability as well as the ways Indigenous peoples move and do not move in contemporary sociopolitical structures. Chapter Four turns to a musical project linking Indigenous musicians from Taiwan and New Caledonia as documented in Ça Fait Si Longtemps (2017), viewing this transpacific musical exchange as a starting point to explore a specific form of Indigenous internationalism: Indigenous cultural and political mobilization across the Pacific. Chapter Five concludes this thesis and reflects on the significance of Indigenous films as well as the stakes involved in conducting research as an Indigenous person in a Department of Foreign Languages and Literatures in Taiwan. Through a discussion of Indigeneity in motion, this thesis seeks to contribute to Indigenous visions of the transpacific—ones that are informed by a global awareness of Indigeneity and its futures.

並列關鍵字

Laha Mebow ； Indigenous peoples ； motion ； Taiwan ； New Caledonia ； Indigenous cinema ； Indigenous studies ； transpacific studies

參考文獻

Films

Laha Mebow [陳潔瑤], director. 32 Km - 60 Years [32 公里~六十年]. Public Television Service, 2018.

---, director. Ça Fait Si Longtemps [漂流遇見你]. Activator Marketing Co., Ltd., 2017.

---, director. The Dazzling Black Beneath the Blue Sky [我在這裡看見你]. Taiwan Society for Pacific Studies, 2013.

---, director. Do You Still Remember the Shooting Stars? [你還記得流星嗎?]. Ropwe