台灣切片｜如是原民，如是紀錄：1994-2000年的原住民族紀錄片

毛利族導演貝瑞・巴克禮（Barry BARCLAY）曾於1980年代末首次提出「第四電影」一詞，意指影像中的原住民應由原住民來詮釋，也更強調「內在性」（interiority）作為一種創作精神。回顧台灣紀錄片影史，科技的普及使得紀錄片創作在1990年代爆發，原住民族也在這樣的浪潮下，有了自己拍攝自己的可能。

本單元以1994至2000年為期，爬梳當年在學院學習拍攝，或受新聞記者訓練，或參加地方文史紀錄片培訓營的創作者，挑選他們初試啼聲的作品，試圖探究原住民紀錄片裡的觀點、議題、美學，以及背後論述的形構過程。而這段時期，或許可視為台灣第一波的原住民電影現象，昔日的紀錄，也成為今日社會處境的對照。

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【12th TIDF】台灣切片│如是原民，如是紀錄預告 Taiwan Spectrum│Indigenous with a Capital 'I' Trailer

New Paradise

A group of Pangcah people left their homeland in the eastern Taiwan to seek jobs on the western coast. They drifted from one construction site to another, until they finally settled on a temporarily unclaimed clearing behind a university, building a community far away from home. Despite the instability of work and earnings, they lived life to the fullest catching fish, growing vegetables, singing and dancing, even electing leaders of their community in this 'new paradise'.

C'roh Is Our Name

The Pangcah people living in the urban area used to compete and win the dragon boat race every year, but only as hired agents in a festival event of the Han Taiwanese. In 1995, a team of Pangcah contestants decided to compete in the race under the names of their community and homeland, 'C'roh of Yuli, Hualien', striving for glory to honour their true origin.

Children in Heaven

Charged with violation of the Water Act, the indigenous community living under the San-ying Bridge was forced to witness their shelters and homes being torn down by the government every year, while the sand and gravel processing plant on the east bank grew larger and larger; the garbage mountain on the west bank higher and higher. This absurd cycle became so familiar that the children of the community began to build and demolish make-believe houses as a game.

As Life, As Pangcah

Part oral history, part reflection on a culture at risk of being erased, this documentary presents a deep dialogue between a 94-year-old Pangcah chieftain and an indigenous filmmaker. Through words and songs, hunting trips and weaving of vines, the elderly chieftain lives and embodies the ways of the Pangcah people. He also recounts his frustrated attempts in defending traditional culture against Taiwan's encroaching modernity.

The Traditional Clothes of Raisinay Village

After restoring their Ceremony of Ancestral Spirits, the Atayal people of the Raisinay Village, Miaoli County, were distressed by the absence of their traditional garments. Yuma Taru, a researcher of Atayal folk costume, decided to trace back their history by conducting interviews with the elders, learning weaving techniques from them. This documentary captures the passing down of the weaving art, and the younger generation’s yearnings for revival of their traditional clothes.

The Painter from Fata'an

ZHENG Jin-sheng of the Fata'an community , Hualien, lost his right hand and left leg in a childhood accident. A man with a positive attitude to life, he worked in carpentry, caught pond loaches, and enjoyed dancing with his people. Most impressive of all, he trained hard to become a wall-painting expert, leading a life devoted to his work.

Song of the Wanderer

Song of the Wanderer features a group of 'voiceless people', a part of the indigenous community in which the filmmaker resides. Due to frustrations with work, divorce, and life in general, they are often subject to isolation, emotional breakdowns, and even self-harm behaviours. The filmmaker engages them in genuine conversations, while inviting the viewer to listen to these 'voiceless people' sing: In their songs are their true feelings.

Please Give Us a Job

In the 1990s, foreign migrant workers began to occupy the Taiwanese workforce under the government’s new policy. Many indigenous labourers lost their jobs and were forced to return to their homelands, squeezing out a living on odd jobs, frustrated and powerless. Please Give Us a Job records their unheard voices against a backdrop of economic growth, and observes the rivalry and tension between foreign workers and indigenous workers.

Looking for the Salt

In 1999, the Indigenous Culture Club at the National Taiwan University held a series of annual ceremony activities as a tribute to traditional indigenous rituals. So unfamiliar with their native languages and cultures, however, the student organisers found themselves in an awkward position that brought them into conflict with the school administration. Where would they find the 'salt', an in-depth understanding of their cultural identities and backgrounds?

Angoo

My sister Pei-ling went through with an unexpected pregnancy. The child was nicknamed Angoo. In three years, Pei-ling broke up with the child's father, met a new boyfriend, left Angoo in my parents’ care to move in with her boyfriend, until she finally moved back in with our family due to the disapproval of her boyfriend's brother. The parent-daughter relationship was strained at first, but gradually things changed; understanding and love returned between them.

Taiwan Spectrum｜Indigenous with a Capital 'I': Indigenous Documentaries from 1994 to 2000

The English title of this programme, Indigenous with a Capital 'I', is indebted to the late Māori director Barry BARCLAY, who first introduced the concept of 'Fourth Cinema' in the 1980s to promote two iconic ideas: Indigenous stories in films should be interpreted by indigenous people; the indigenous 'interiority' should be recognised and highlighted as a creative force. Owing to fast-developing technologies and wider availability of affordable equipment, the 1990s saw an explosion in Taiwanese documentary filmmaking, when indigenous filmmakers picked up their cameras to tell authentic stories of their own communities.

This programme selects 17 films produced between 1994 and 2000 by indigenous filmmakers who studied in film academies, worked as journalists, or attended local training camps on cultural/historical documentary filmmaking. We intend to explore these early productions in terms of their central issues, viewpoints, aesthetics, and formation of discourses. Productions from this era may be regarded as the first wave of indigenous cinema in Taiwan; they preserve invaluable historical records that inform our understanding of Taiwanese society today.