當強勢社會逐漸建立,概念上與地理上的主從關係亦緩緩成形,然而誰是主體、誰又是邊緣,端看觀點與意識的立足點。「流離島影」系列係於1999年由「螢火蟲映像體」企劃,由12位不同世代導演,透過實驗性的手法,以「台灣周邊離島」為主體進行創作。本單元則藉由影視聽中心整飭與數位化這些膠卷作品,希冀透過回顧視角,重新思考幾十年來島嶼間面對「本島」與「離島」的想像。

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Who Is Fishing®?

Mentioning Diao-yu-tai evokes an immediate patriotic response in Taiwan due to the territorial dispute between China and Japan, sparked by a 1968 oil field survey in the East China Sea.  

'I wouldn't say I'm shooting the Diao-yu-tai; it's more like the Diao-yu-tai is capturing me, or perhaps it is reflecting me. I never thought the Diao-yu-tai was important to me, and even now, after researching so much about the island, the more I understand it, the less I want to engage with it. I just wish it could peacefully lie there.' - Singing CHEN

The Floating Ball

Liuqiu, a tiny island on the outskirt of the Taiwan Strait, which means ‘floating ball’. Surrounded by more floating balls—’hotels-on-the-sea’ where Chinese fishermen stay. The film depict fate, humanity and destiny of these floating balls.  

Before the Radiation

In 1998, Wuqiu was marked as a Nuclear Waste Disposal site despite protests. Islanders question the choice: ‘Why dump it here? Why not bury gold?’ As a military zone, public access is denied, leaving us defenseless if the government acts further.  

Shadow Dancing at Ma Tsu

Structured around a dancer's routine, the film unfolds in four stages: hope, fear, anger, and longing for stability. It interweaves these emotions with those of locals of Matsu, the military, and first-time-visiting photographers from Taiwan island.  

'Perhaps out of a reactionary mood, I told myself not to film historical tragedies or emphasise soldiers and war. Instead, I wondered if there were stories of the people of Matsu. Thus, chasing after the figure of a dancer, I embarked on the exploration of Matsu.' – CHEIN Wei-ssu

West Island

West Island lies south of Penghu, under a square kilometre in size. At its peak, around 200 people lived here, but by 1999, only few remained. It's uncertain if their departure was coincidental. Both the island and its inhabitants have faded into obscurity.  

Libangbang: Ching-Wen's Not Home

The film was shot in two periods. Initially, during Kuo's visit to Ching-wen rebuilding his parents' home, unplanned as a documentary. Later, funding came, but Ching-wen left for Taipei. Kuo returned to Orchid Island, capturing memories of Ching-wen.  

'Over these years, moving between Taiwan and Orchid Island, I shared many joyful moments with Ching-wen. I hoped to document his life on the island and even wrote a script for him. Yet, after years of waiting, when I finally received a bit of funding to film, he had to leave Orchid Island.' – KUO Chen-ti

Trouble

When a boat sets off, passengers may anticipate their destination's appearance. Some believe imagination can transport them, while others need firsthand experience. The story of Keelung Islet documents both a process and a state of consciousness.  

Turtle Island: Nostalgic Voices

When fishing at sea, he always glimpses Guishan Island. Childhood memories and the villagers' distinct qualities were buried there during the village’s relocation. 'Now, we hide our homesickness in dreams'. Witnessing the island's tourism deeply affects displaced islanders.  

My Own Private Green Island

Green Island's link to political prisoners remains indelible despite its modern tourism. To depict the multi-faceted appearance of the island, the film centres on 3 characters: a local islander, a former prisoner’s daughter, and an artist with depression.  

03:04

Old folks waiting for a good coffin, children waiting to leave the island, soldiers anticipating military retirement... Trees waiting for wind, wind seeking rocks, rocks waiting for man’s return, and I’m waiting for the movie to end.  

'This is my hometown. When I first picked up the camera to praise you, what I saw was your abandoned face. Only 16 minutes, yet my feelings were so heavy and fearful. That island, the island I want to return to but don't know how... I think this is a movie that (Kinmen) islanders dare not see...' - HUANG Ting-fu

Reel Taiwan: Floating Islands

As dominant culture in a society emerges, the hierarchical relationships, conceptually and geographically, also begin to take shape. However, what is at the centre and what is on the periphery? It often depends on one's perspective and standpoint. In 1999, the 'Firefly Image Company' organised an artistic project 'Floating Islands', which invited 12 directors from different generations to create experimental film works about the 12 islands surrounding Taiwan. This programme, consisting of works originally shot on film and now digitised by Taiwan Film and Audiovisual Institute, asks us to reconsider and reimagine the relationships between 'main island' and 'outlying islands' over the past decades.

Films

03:04

03:04

2000
Taiwan
17min

<The Pratas Islands>...Tong-Sha, an Isle Like a Crab

<The Pratas Islands>...Tong-Sha, an Isle Like a Crab

2000
Taiwan
16min

Before the Radiation

Before the Radiation

2000
Taiwan
24min

Libangbang: Ching-Wen's Not Home

Libangbang: Ching-Wen's Not Home

2000
Taiwan
35min

My Own Private Green Island

My Own Private Green Island

2000
Taiwan
31min

Shadow Dancing at Ma Tsu

Shadow Dancing at Ma Tsu

2000
Taiwan
24min

Silent Delta

Silent Delta

2000
Taiwan
19min

The Floating Ball

The Floating Ball

1999
Taiwan
24min

Trouble

Trouble

2000
Taiwan
17min

Turtle Island: Nostalgic Voices

Turtle Island: Nostalgic Voices

2000
Taiwan
21min

West Island

West Island

2000
Taiwan
31min

Who Is Fishing®?

Who Is Fishing®?

2000
Taiwan
16min
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