胡台麗的人類學實踐：六部民族誌影片之分析

Abstract

胡台麗吸收西方民族誌電影理論與思維（特別推崇尚‧胡許的民族誌 電影理論）後，在台灣人類學實際操作上如何將「民族誌電影」之概念轉 化與延展，以及結果為何，將是本論文企圖探問的問題意識。 我以《矮人祭之歌》、《蘭嶼觀點》、《穿過婆家村》、《愛戀排灣 笛》、《石頭夢》 和《讓靈魂回家》六部影片作為分析對象。這六部電影 刻畫了胡台麗從漢人農村研究、榮民研究和原住民文化展演研究思考和轉 進，也擘畫出胡台麗人類學實踐的軌跡。 本文試圖探問，胡台麗八○年代開始於中央研究院民族學研究所任職， 著手以電影的方式再現族群、社區、榮民等人類學知識在地化的問題，究 竟最後呈現出什麼具體意義和實驗結果。

HU Tai-Li studied Western ethnographic film movements and theories (with a particular praise on Jean Rouch’s work) in the 1980s. How has Hu elaborated the concepts of ‘ethnographic film’ in actual practices in the field of Taiwan's Anthropology, and what were the outcomes and evaluations? These are the problematics of the dissertation. Therefore, the dissertation focuses on six films: Songs of Pasta'ay, Voices of Orchid Island, Passing Through My Mother-in law's Village, Sounds of Love and Sorrow, Stone Dream, and Returning Souls. As a whole, the films show Hu’s research path has gradually shifted from Han Chinese rural community to veteran mainlanders and indigenous cultural performances. More importantly, making these films becomes a way to put her anthropological theory into real practice. As Hu employs her films as a means to present the issues brought by the localization of anthropological knowledge since the ‘80s, such as ethnic groups, communities, and veteran mainlanders, the dissertation also tries to examine what Hu’s practice has achieved, and what are the results of this “experiment”.