You are here
紀錄片學者Michael RENOV曾指出，個人紀錄片的發展，受到女性主義「個人的即政治的（the personal is political）」理念的影響。回到台灣紀錄片的脈絡，1990年代，開始有許多女性創作者，也以個人的口吻與語彙，採取「個人電影（personal cinema）」的姿態，訴說在「大寫歷史／他的歷史（HIStory）」的敘事傳統下曾被壓抑、被忽略的各種故事。
Director HSU Ya-ting, along with her husband Geoffrey HUGHES, explores childbirth and the physical and emotional toll that childbirth took on her personally. She uses her body as a canvas, providing viewers with a most intimate view of what the female body is subjected to when bringing a pregnancy to term.
Through magnifying scanned photos and juxtaposing old photos with the new ones, the film attempts to reexamine family photos as a way of rejecting the harmonic tone rooted in family portraits, while the moving film perforation becomes the train windows in the travel of time.
Using camera obscura techniques, the film contemplates the idea of bringing oneself back to the origin, the womb. As the film traverses through a series of psychological events, a dialogue is conducted between two selves – infant and adult.
An experimental documentary consists of 35mm film photographs of three islands: Inishmore, Staten Island and Tsushima Island. By rearranging and re-filming the photographs and objects, the island is no more a mere geographical expression but a state of mind.
Here a mother works tirelessly for rich clients so she can afford to send her daughter to school in the United States. The making of a piece of clothing is filmed in detail while we listen to a phone conversation that covers the topic of credit card expenses.
Emulsion Connection connects photochemical and digital format, as well as the filmmaker’s carefree student life abroad and her returning to hometown. The time difference between each frame can be 1/18 second, 1/24 second, or 1 week, or even a decade.
A little ballerina begins to explore her body. Two teenage girls have their first intimate experience. Following the flow of thoughts in one’s creative process, a journey into the past reveals the protagonist’s desires experienced at various ages.
What if everything is in a flow, what is the meaning of life derived from its sense of interconnectedness? The film observes the flow of change and rhythms of breathing through abstract moving images. A poetic state of meditative process slowly comes into being.
Immersing in the tension within the family of origin, one follows the rrumination in the meditation on intimacy.
In T. S. ELIOT’s rendition, ‘What might have been is an abstraction remaining a perpetual possibility only in a world of speculation.’ When looking into the past, the filmmaker finds her memories fading and her past self on the verge of vanishing. Through the usage of family's archival materials, she aims to explore the relationship between one’s being, body, memory, imagery and death.
Taiwan Spectrum｜Triviality that Speaks Volumes: Personal Cinema of Female Directors Since the 1990s
Documentary theorist Michael RENOV once reflected upon the importance of the feminist movement in creating new forms of documentary that investigate the subjectivity and identity of the filmmaker. Indeed, many female filmmakers in Taiwan began to adopt the idea of ‘personal cinema’ in the 1990s, telling their personal stories suppressed or neglected in the tradition of ‘HIStory’ narrative.
From a retrospective viewpoint, this program attempts to re-examine how the idea of ‘the personal is political’ was realised through documentary practice. With self-reflective tone, these works contemplate on the idea of body, desire, emotion, family and experience of growing up, while unveiling various types of restraints imposed on women by the society.
Depart for a New Life: One Promise
How Old Are You? How Old Were You?
HSU Ya-ting, Geoffrey HUGHES
Transcript (the other version)