南方澳海洋紀事

導演：李香秀
片長：98分
完成年代：2004

最近有機會參加「台灣原住民與南島民族歷史與未來」國際研討會，大多數的
發言人再三地強調「台灣沒有太平洋意識」與「台灣是一個陸封的社會」等說
法1。言論的人都認為「海」對台灣人來說是一種陌生、可怕的存在。 這部紀
錄片表面上跟這種概念是相異的，它紀錄的便是台灣人對海和對太平洋島的了
解、接觸。然而，雖然這個行業是在海上進行的，但是觀眾倏地發現因為釣魚
對台灣的傳統民俗信仰來說屬於行業其中一個，所以他還是由土地公掌控的。
因此台灣的漁人優先拜的是土地公，而他們的思路還是一種陸封的思路。他們
對太平洋和對「海」的了解充滿著無知和無情。在紀錄片中臺灣的民俗傳統跟
菲律賓漁工的天主教和大陸的民俗信仰並列地出顯，布過三者都是分開的進
行，文化交接比較少。台灣人跟太平洋的對話、接觸多半的情況下都是在賭
博、嫖妓的場景中發生的。其他的情況下，不管是跟大陸漁工或菲律賓也好，
台灣人還是保持距離，並非產生出跟台平洋或中國大陸的對話或意識。雖然本
片並沒有強調「民俗」的角色和作用，不過這樣的草根勞動階級的漁工便是台
灣民俗信仰對於「海」和「島嶼上的生活」最重要的邊界。

4.5/5

預告片可以去 http://cc.shu.edu.tw/~hlee9/NanFangAo.htm 下載

나쁜 남자 Bad Guy (2002)

What struck me most about this film was how a series of events can completely alter one's world view, what had seemed so important to the female lead, a clumsy romance with a conventional boyfriend, an art history degree, sexual purity, loses all it's relevance in light of her experiences in prostitution. One way of looking at the male protagonist's actions towards her would be a kind of leveling; she spat on him in the first scene and slapped him humiliating him, and he revenges himself by making her realise how fragile her morality and her dignity really is. The bond between them seems two-fold though, he watches her be violated, but then avenges this violation by beating her violators. He too, tries to violate her, but turns to one of the other girls instead to release the sexual tension; she knows he tricked her into prostitution but is drawn to him at the same time. The female lead at the start of the film is unlikeable, and it is through the eyes of Hangi (the male protagonist) peeping through the glass at her repeated violation and subsequent resgination, that the audience sees her change and become more in touch with human emotion. The protagonist on his first meeting with the girl stands out of the crowd, with a scar drawn across his neck, and her look of disgust is because she knows what kind of person he is. So instead of trying to leave the world he is in, he brings her into his world, he becomes her pimp, as opposed turning (in a familiar Hollywood trope) into her Prince Charming.


I felt for a moment on hearing Hangi's high pitched voice, that the film would lull into cliché with the anti-hero being ashamed of his voice but getting up the courage to say he loved the heroine. This didn't occur, although the protagonist perhaps is reflecting on his own feelings of inferiority when he beats up his friend, shouting at him that it was stupid for a hooligan to have dreams of love. It is not love that wins out at the end of the film, but a kind of acknowledgement of and resgination to the bond they have which they consumated when she spat in his face and he watched her lose her virginity by a paying client.

I thought it was a great film, the intensity of the male protagonist was played fantastically, and the way the plot played out was original and uncannily real.



5/5

Kawut na Cinat’kelang

片名：Kawut na Cinat’kelang ／ 划大船 ／ Rowing the Big Assembled Boat
發行單位：我們工作室有限公司
發行年：2009
片長：58分
導演：林建享



本片的焦點便是達悟族朗島部落為了2007年的Keep rowing海洋練習曲的計畫而造船、出海的過程。這部紀綠片很特別的一點就是達悟族人，尤其是郭建平（Shyman Vengayen），對自己的傳統文化的手工業的禁忌的肯定，這些禁忌同時也意味著對漢文化、全球化的工業經濟觀念的批評。為了持續、推廣蘭嶼的南島文化傳統，某些禁忌需要被破壞。不過這種破壞還是以傳統儀式來應付。據郭建平來說在二十一世紀對漢人來說台灣原住民文化的角色不再是像之前一樣，為一種玩樂、有趣的題材而已，而是一種另類的生活模式的教育對像。台灣的漢人失敗的社會方面，譬方說環保、可持續的發展等社會議體，可以向原住民社會找解決的方法手段。這種概念跟菲律賓導演奇拉‧塔西米克(Kidlat Tahimik)的紀錄片《土倫巴》和《為什麼彩虹的中間是黃色》有類似的目標：從原住民文化找到一些可以幫助所謂「先進」的世界的智慧來教育西方、漢人。

電影討論原住民的禁忌作用的轉換，讓他們可以參與這分為 外地人而造船的手工業活動。原住民面對推廣自己的文化需要尊重這個文化，而不是出賣他們的文化為一種玩樂而已。片中也包括造船的一些傳統歌曲的母語、中文和英文的紀錄，同時也是因為這是一個新的生活經驗，而是還記錄新造出來的歌曲。 電影的品質很好，很值得看。

Le tribunal itinérant Directed by Zheng Wenqing

A woman tearfully reads a letter from her paraplegic husband which grants her a divorce from him. The husband looks on as she reads his words advising her to divorce him so that she can have time for herself and to look after their son instead of being a full time carer for him. The wife breaks down in tears and we catch a glimpse of something approaching smugness at the emotional outpouring he has elicited with his self-sacrifice. The court official, frustrated with the lack of efficiency first tells the wife to calm down, then asks her to pass the letter to a court official who reads the letter as disinterestedly as if he's explaining the rules of Monopoly - the emotional words of the wife, punctuated with breathy cries are transformed into a dull bureaucratic legal confirmation, a tick in column A and column B so to speak. These two elements of the documentary were the elements that most lucidly translated to my own experience of China. The first being the naïve sentimentality woven into the framework of personal tragedy, be it a wife eulogizing her husband's self-sacrifice, or the evident pride with which the husband perceives himself in her reaction. These scenes, which are common in Chinese soap operas and films (think A World without Thieves, Together or even Infernal Affairs in the scene where the policeman is thrown off the roof.) They seem at times to be the equivalent of corny lifetime movies, when children get cancer but remain irritatingly upbeat about it or the emotive conceits of film noir. There is an unashaméd yank at the heartstrings that is counterbalanced by the other element of Chinese culture that hit me hard in the culture clash, that is the unrelenting Kafkaesque nature of bureaucracy, where people's (overly-) emotional rending is treated like a tax receipt that has been filled out incorrectly. The itinerant court sets up in absurd locations, carrying the plaque of the republic which is hung over classrooms, and in muddy village squares. The judges seem reasonable enough though they play to the crowd at times who seem to have come for the entertainment value (I'm reminded of the staring immobile faces that surround Chinese car accidents.) The documentary's grasp of these elements of Chinese society, both its strength and its weakness, make the documentary interesting for foreign viewers, as this is the elements of culture that are so alien to the contemporary Western world.

Interesting but not essential viewing 3/5