再現弱勢的美學與政治：從《月亮的小孩》到《水蜜桃阿嬤》
Aesthetics and Politics of Representing Minority: From "Moon Children" to "Honey Peach Grandma"

蔡慶同

台灣社會在解嚴之後，逐漸興起藉參與觀察來再現弱勢以傳達人道關懷的紀錄片，本文探討的正是：其中所涉及到的美學與政治之間的關係變遷。1990 年的《月亮的小孩》，以白化症者及其家庭作為被攝對象，可以說是具備著典範性的角色。其後，在各項政經資源的投入之下，除了作為電視的節目、影展的作品之外，這類再現弱勢的紀錄片甚至一度進入電影的院線。然而，到了 2007 年的《水蜜桃阿嬤》，以自殺原民及其家庭作為被攝對象，卻因公益或慈善的體驗式行銷而引發爭議。換句話說，此一再現美學的興起，原本具有著政治化的意義，然而，在紀錄、文本與觀看等等面向的變遷之下，卻使得弱勢的再現政治，逐步走向了美學化的操作。

Focusing on the documentary of representing minority through observational and participatory mode in Taiwan, this essay traces the genealogy since 1990s. It is contented that for realizing new concept of reality, “Moon Children”(1990) innovated not only aesthetics but also politics of representation. It is further argued that since this kind of documentary played the role of experiential marketing of charity, "Honey Peach Grandma”(2007) thus presented property of de-contextual and aesthetic. The author concludes by suggesting that the relationship between aesthetics and politics of representation should be reformulated.

紀錄片、弱勢、人道主義、再現美學、再現政治

documentary, minority, humanism, aesthetics of representation, politics of representation

2011-07-05

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再現弱勢的美學與政治：從《月亮的小孩》到《水蜜桃阿嬤》.pdf