原住民意象在環境紀錄片《看見台灣》(2013) 中的音聲再現

Abstract

環境紀錄片《看見台灣》(2013) 以後現代的視角，呈現了現代化對台灣環境的開發與隨之而來的汙染。而本片導演齊柏林和音樂總監何國杰企圖運用原住民的意象，代表未受汙染的台灣，也顯出主流族群的反省，還給原住民應有的地位。實際上無論是泰雅族歌者、布農族的童聲合唱以及其他原住民音聲，卻被收編在現代管弦樂的主體裡。如此這部批判現代化對台灣環境汙染的紀錄片，諷刺地為原住民音樂帶來現代化的「汙染」。這驗證了Anthony Giddens (1990) 所謂的脫域現象，因為原住民的意象抽離了本來的時空，其主體性也被他者化。Claudia Gorbman (2000) 則為弱勢族群在主流文化的再現提供了分析的範例，她指出印地安人在美國西部片的配樂中，從早期到九零年代有著越見完整與正面的呈現。相較之下，《看見台灣》意圖以原住民音聲代表台灣的原貌，實質上卻有所不及，如《物換星移》一曲以泰雅族歌聲開頭，但管弦樂奏出好萊塢式的主題後，原住民的意象降為只是前奏的功能。另一方面，該片最後一幕以布農族青少年在玉山山頂揮著國旗歌唱來代表台灣的遠景，卻是過猶不及。本文認為以單一文化為一國之代表，有著現代主義的本質論之虞；後現代的「台灣聲音」，應該包含社會上的各族群。總而言之，《看見台灣》看見了台灣的環保議題；但在原住民音聲再現的過與不及之間，該片卻仍未「聽見」台灣的族群正義。

The documentary film with aerial video “Beyond Beauty: Taiwan From Above” (2013) is a postmodern criticism of Taiwan’s modern development and the resulting environmental pollution. As a metaphor for the original and unpolluted Taiwan, the film highlights indigenous music, which seems to be a recognition of the previously disadvantaged minorities at the same time. In the actual scoring, however, Taiwanese indigenous music is almost subsumed under the modern orchestration. For example, the song “Valley of Light” depicts the natural scenery of Taiwan by traditional Atayal singing, but it functions only as a prelude to the main theme in classical Hollywood style. Ironically, while the film condemns the environmental pollution caused by modernization, the modern scoring also leads to the “sonic pollution” of indigenous music. This kind of lifting out the music from its own time and space in the cultural life of the tribes is what Anthony Giddens (1990) terms “disembedment.” On the similar issue of representing indigenous music in films, Claudia Gorbman provides an analytical model in her article “Scoring the Indian: Music in the Liberal Western” (2000). She observes that Native Americans became more and more positively portrayed from the 1950s to the 90s. This reveals how the situation in Taiwan is lacking behind in this regard. The issue of over or under representation is most drastic in the final scene, when the films witches from a documentary to a sort of docudrama. On the one hand, only the children of Bunun, another Taiwanese tribe, are chosen to represent the vision of Taiwan’s future by singing and waving the national flags on the highest summit, Mountain Yushan. On the other hand, the song they are singing is not of their own tradition but a modern tune which partly resembles The Carpenter’s hit song “Top of the World.” Choosing only a certain ethnic group to represent the whole Taiwan reflects an essentialist imagination. Instead, music of different ethnic groups should be heard as the voices of Taiwan. While the ecological problems of Taiwan could be seen beyond its apparent beauty, a holistic, fair and balanced musical representation of the multicultural Taiwan is still to be heard.