人類學學識、影像的展演╱介入與公共化策略：民族誌影展在台灣

Abstract

「公共人類學」與「視覺人類學」從不同出發點對人類學的知識生產、傳播、流通以及知識的樣態與對象所進行的討論，有頗為類近的反省思辯，兩者交迭之處正好描繪出本文主體「民族誌影展在台灣」，所觸及的視覺媒體、人類學知識的公共化以及公共人類學所意圖彰顯的題旨與意涵。透過第一屆至第五屆（2001-2009年）台灣國際民族誌影展活動之參與觀察，本文聚焦此影展如何推出各種再現－事件，並藉由公共教育、倡議式與反身性的公共化策略之不同取向，演繹人類學公共化的不同關切與參與面向。人類學影片關於他者／文化的知識與視野，經由民族誌影展的實施，在觀眾、被拍攝對象與影像工作者齊聚一堂的同時，於「共同在場」（co-present）所搭建的溝通空間中，相當程度提供更廣大群眾，省思族群互動的歷史經驗以及認識不同再現、記憶與多重敘說相互競逐的有效途徑。公共人類學關注人類學知識的普及化，在普及化的過程中與受眾接觸而有所碰撞，指出人類學知識的專業特性以及（潛在）服務的對象，並顯現人類學學科的核心預設及其知識生產的權力關係。2007年台灣國際民族誌影展以「在地發聲」為主題，企圖呈現原來是受眾也是被拍攝／研究對象的原住民族群，轉而拿起攝影機拍攝自己。原住民族攝製自己／族群的影片，一方面質疑並挑戰人類學學識或民族誌影片的既定框架，另一方面經由原住民影片製作的介紹、放映與交流，觀察到原住民族（自我）發聲、反嗆與賦權的真實效應。進一步來說，民族誌影展作為一項媒體／社會實踐，活絡了與公眾的接觸和對話，而來自於大眾的反響、回應或詰問，有助於人類學以及民族誌影片的自我省思、架構調整與學術專業的振興或社會參與。

”Public anthropology” and ”visual anthropology” whilst from different starting points, share similar reflections and interrogations on the production, dissemination, circulation, and characteristics of anthropological knowledge. This overlapping is present in the ethnographic film festival in Taiwan, which addresses the objectives and implications of visual media, publicized anthropological knowledge, and public anthropology. Through participant observation of the Taiwan International Ethnographic Film Festival, 2001 to 2009, this article focuses on how the film festival launch a variety of representation-event, and how it relies on diverse strategies including educational, advocate, and reflective approaches to elaborate on the concerns and dimensions of public anthropology. The film festival provides a communicative space wherein audience, filmmakers, and film characters are co-present. It is an effective way for the public to reflect together on the historical experiences of ethnic interaction and learn the contestation of different representations, memories, and narratives.Public anthropology is concerned about popularization of anthropological knowledge and the encounters with audience during the process of popularization. Public anthropology pointed out the institutionalized nature and concealed service objects of anthropological knowledge; it also revealed the discipline's core presumptions and power relations of knowledge production. The 2007 Taiwan International Ethnographic Film Festival used ”Indigenous Voice” as the theme, in an attempt to the work of indigenous people who were the previous audience as well as the shooting objects. Celebrating the phenomenon of aboriginals filming themselves, the festival challenges the established framework of anthropological knowledge and ethnographic film. Moreover, it observes the real effect of aboriginal voices, talk-back, and empowerment through introducing, showing, and discussing indigenous films. Furthermore, the Ethnographic Film Festival as a media/social practice enacts active engagement and dialogue with the public. The feedbacks, responses, or interrogations from the public audience, furthermore, are helpful for the self-reflection, framework adjustment, and social participation of the profession of anthropology and ethnographic films.