紀錄片拍攝者與被攝者之間的複雜關係，不僅左右再現美學形式，也猶如一個異質性（heterogeneity）互動網絡，尤其當掌握在地知識的原住民成為被攝者，其間牽涉的異質性超越紀錄片再現真實與否的傳統認識論探問。本文因此轉以在地 知識擁有者「自我描述」的觀點，以《司馬庫斯》紀錄片為案例，將紀錄片拍攝過 程視為一個跨文化傳播建構的異質性網絡，反思此段共同⬀在的「遭遇」（encounter）。嘗試探析：（1）紀錄片以電子媒介方式介入，部落族人在其中 「自我描述」策略為何？；（2）口語文化的特徵如何轉化為螢幕記憶（screen memories）？；（3）主體與客體之觀看關係是否可能翻轉？

The complex relationship between documentary filmmakers and their subjects not only influences aesthetic style, but also resembles an interactive network of heterogeneity. This is especially true when indigenous people possessing a deep understanding of local knowledge become the subject of a film and the heterogeneity of the film goes beyond the traditional epistemological query of representation. By taking the documentary “A Year in the Clouds” as an example, this paper focuses on the “self-descriptive” viewpoints of local knowledge holders, viewing the filming process as a heterogeneous network of cross-cultural media construction, and reflecting on the “encounter” that took place during that process. This paper will attempt to explore: (1) What is the tribespeople’s “self-descriptive” strategy in responding to the documentary’s involvement of electronic media; (2) How are the characteristics of orality transformed into screen memories; (3) Is there any possibility to reverse the relationship between the subject, and the object?