1C O N T E N T S目 錄

1目錄 Contents

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各場次節目時間表 Schedule

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巡演地點 On Tour卡佩瑪胡：治療石的故事 The Healer Stones of Kapaemahu
傳統舞蹈新性別：薩摩亞羅傑斯舞團 THE ROGERS
愛戀排灣笛 Sounds of Love and Sorrow遇見尚 ‧ 胡許 Encountering Jean Rouch

客家說唱一甲子 徐木珍 60 Years of Singing Ballad in Hakka：Mu-Zhen Xiu
我念的原住民專班The Challenge of indigenous education: practice and perspectives
揹獵物的女人 The Woman Carrying the Prey
備忘錄 The Memo夢洄 Swirling in the dreams

月亮．男人 Man Under The Moon
記憶家園 When we are together

印尼移工疫情中的數位社群 Rasa dan Asa

樹葉窸窣呢喃：賽隆之歌 Sailum: Song Of The Rustling Leaves
點燃新時代：古巴網紅 DINAMITA

離散藍調：希臘 Rembetika My Rembetika Blues
北極之聲 The Voices of the Arctic

新幾內亞田野錄音 EXPEDITION CONTENT

感謝名單 / 工作人員 / 主辦單位 / 指導、贊助單位 / 補助單位 / 協辦單位
巡演地區合辦單位O N

T O U R臺北

臺北大學 4/2-5/2

政治大學 4/12-5/16

國家教育研究院 4/18

臺灣大學 4/23、5/16、5/27
明白實驗所 5/4

鬧空間 5/11、5/12

國立臺北藝術大學 4/26-5/6
桃園

中央大學 4/22、5/6、5/20
新竹

新竹市影像博物館 4/5-6/30
陽明交通大學 4/15、5/20
新竹高中 4/23-5/8
清華大學 4/26
臺中

逢甲大學 4/1-5/31

靜宜大學 / 弘光科技大學 / 台中市文山社區大學 /清水散步 / 牛罵頭遺址文化園區 / 拍瀑拉文化基地 /山腳下牛罵社通事屋 4/12-6/28

國立自然科學博物館 5/25、5/26
臺中一中 5/31

巡 演 地 點南投

暨南國際大學 5/29
臺南曬書店 4/1~6/30
高雄

義守大學 4/1-6/30
高雄醫學大學 4/2

中山大學 4/11- 5/16

高雄科技大學 4/24、5/1、5/9
高雄市電影館 5/4-5/12
屏東66 號工具人 4/13-5/25
屏東大學 4/22-4/26
宜蘭佛光大學 4/17、5/1
花蓮

花蓮鐵道電影院 4/19-4/28
大同戲院 6/15、6/16
臺東臺東大學 4/29-5/2
澎湖澎湖科技大學 4/15

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S C H E D U L E

各場次節目時間表■臺中：4/1-5/31 逢甲大學

《愛戀排灣笛》《我念的原住民專班》《揹獵物的女人》■臺南：4/1-6/30 曬書店《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《卡佩瑪胡：治療石的故事》《北極之聲》《樹葉窸窣呢喃：賽隆之歌》《印尼移工疫情中的數位社群》《離散藍調：希臘 Rembetika》《點燃新時代：古巴網紅》《新幾內亞田野錄音》■高雄：4/1-6/30 義守大學

《我念的原住民專班》《揹獵物的女人》《夢洄》  
■高雄：4/2 高雄醫學大學濟世大樓 915《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《卡佩瑪胡：治療石的故事》■臺北：4/2-5/2 臺北大學S C H E D U L E■臺中：4/12-6/28 清水散步 / 牛罵頭遺址文化園區 / 拍瀑拉文化基地 / 山腳下牛罵社通事屋 / 弘光科技大學 /台中市文山社區大學 / 靜宜大學

《愛戀排灣笛》《遇見尚 ‧ 胡許》《月亮．男人》《揹獵物的女人》《備忘錄》《記憶家園》《北極之聲》《新幾內亞田野錄音》■屏東：4/13-5/25 66 號工具人《愛戀排灣笛》《我念的原住民專班》《客家說唱一甲子 徐木珍》《離散藍調：希臘 Rembetika》■澎湖：4/15 澎湖科技大學《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《卡佩瑪胡：治療石的故事》■新竹：4/15、5/20 陽明交通大學《備忘錄》《離散藍調：希臘 Rembetika》《月亮．男人》《客家說唱一甲子 徐木珍》《我念的原住民專班》《卡佩瑪胡：治療石的故事》■宜蘭：4/17、5/1 佛光大學

■新竹：4/5-6/30 新竹市影像博物館■臺北：4/18 國家教育研究院《離散藍調：希臘 Rembetika》《愛戀排灣笛》《遇見尚 ‧ 胡許》《月亮．男人》《客家說唱一甲子 徐木珍》《記憶家園》《我念的原住民專班》《揹獵物的女人》《夢洄》 《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《卡佩瑪胡：治療石的故事》《北極之聲》《樹葉窸窣呢喃：賽隆之歌》《印尼移工疫情中的數位社群》《離散藍調：希臘 Rembetika》《點燃新時代：古巴網紅》《新幾內亞田野錄音》■高雄：4/11- 5/16 中山大學

《月亮．男人》《夢洄》《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《卡佩瑪胡：治療石的故事》《點燃新時代：古巴網紅》■臺北：4/12-5/16 政治大學

《我念的原住民專班》《揹獵物的女人》《印尼移工疫情中的數位社群》《離散藍調：希臘 Rembetika》

各場次節目時間表《印尼移工疫情中的數位社群》《新幾內亞田野錄音》《月亮．男人》《我念的原住民專班》《卡佩瑪胡：治療石的故事》■花蓮：4/19-4/28 花蓮鐵道電影院《愛戀排灣笛》《月亮．男人》《我念的原住民專班》《揹獵物的女人》《夢洄》《備忘錄》《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《點燃新時代：古巴網紅》《北極之聲》《新幾內亞田野錄音》■桃園：4/22、5/6、5/20 中央大學

《愛戀排灣笛》《遇見尚 ‧ 胡許》《月亮．男人》《揹獵物的女人》《備忘錄》《印尼移工疫情中的數位社群》■屏東：4/22-4/26 屏東大學

《月亮．男人》《我念的原住民專班》《夢洄》《卡佩瑪胡：治療石的故事》《傳統舞蹈新性別：薩摩亞羅傑斯舞團》

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S C H E D U L E

各場次節目時間表

S C H E D U L E

各場次節目時間表■新竹：4/23-5/8 新竹高中

■臺中：5/25、5/26 國立自然科學博物館 ( 紅廳 )■臺北：4/23、5/16、5/27 臺灣大學

■南投：5/29 暨南國際大學■高雄：4/24、5/1、5/9 高雄科技大學■臺中：5/31 臺中一中

■新竹：4/26 清華大學

■花蓮：6/15、6/16 大同戲院

《點燃新時代：古巴網紅》《樹葉窸窣呢喃：賽隆之歌》《離散藍調：希臘 Rembetika》《月亮．男人》《客家說唱一甲子 徐木珍》《記憶家園》《備忘錄》《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《揹獵物的女人》《新幾內亞田野錄音》《備忘錄》《客家說唱一甲子 徐木珍》《我念的原住民專班》《卡佩瑪胡：治療石的故事》《愛戀排灣笛》《我念的原住民專班》《揹獵物的女人》《備忘錄》《卡佩瑪胡：治療石的故事》■臺北：4/26-5/6 國立臺北藝術大學《備忘錄》《點燃新時代：古巴網紅》《揹獵物的女人》《記憶家園》《北極之聲》《新幾內亞田野錄音》■臺東：4/29-5/2 臺東大學人文學院禮納布講堂《備忘錄》《印尼移工疫情中的數位社群》《樹葉窸窣呢喃：賽隆之歌》《新幾內亞田野錄音》《傳統舞蹈新性別：薩摩亞羅傑斯舞團》《卡佩瑪胡：治療石的故事》■臺北：5/4 明白實驗所

《離散藍調：希臘 Rembetika》《點燃新時代：古巴網紅》■高雄：5/4-5/12 高雄市電影館《愛戀排灣笛》《遇見尚 ‧ 胡許》《客家說唱一甲子 徐木珍》《夢洄》《備忘錄》《北極之聲》《新幾內亞田野錄音》《離散藍調：希臘 Rembetika》■臺北：5/11、5/12 鬧空間《揹獵物的女人》《備忘錄》《樹葉窸窣呢喃：賽隆之歌》《北極之聲》《新幾內亞田野錄音》《愛戀排灣笛》《遇見尚 ‧ 胡許》《離散藍調：希臘 Rembetika》《我念的原住民專班》《揹獵物的女人》《月亮．男人》《印尼移工疫情中的數位社群》《點燃新時代：古巴網紅》《客家說唱一甲子 徐木珍》《揹獵物的女人》《夢洄》《備忘錄》《卡佩瑪胡：治療石的故事》《北極之聲》

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導演介紹 Director Introduction
希娜勒姆安納．王卡盧、迪恩．哈默、喬．威爾森Hinaleimoana Wong-Kalu, Dean Hamer, Joe Wilson

卡佩瑪胡：治療石的故事

The Healer Stones of Kapaemahu
Hinaleimoana Wong-Kalu,
Dean Hamer,
Joe Wilson /2021 / 56’ / USA / COLOR

希娜勒姆安納．王卡盧是一名夏威夷原住民教師、文化從業者與電影工

在威基基 ( Waikīkī ) 有四座巨石矗立著，目的是向幾位

作者。她利用數位媒體來保護與延續原住民語言與傳統 。初入電影行業時，

醫者致敬，他們在數百年前將醫術從大溪地傳授至夏威夷。

她擔任獲獎片《 Kumu Hina 》與《 A Place in the Middle 》的主角與教育顧

當地人以一塊銘牌紀念醫者的貢獻，卻沒有提到醫者是瑪胡問，這些電影的宣傳活動帶來具開創性的影響，使她榮獲國家教育協會人權( mahu ) —也就是擁有跨性別特質的人。本片講述這幾位醫者

獎、年度夏威夷原住民教育者與白宮變革領袖獎。希娜接著來到幕後，製作獲的故事，並探索殖民主義席捲太平洋地區後，瑪胡所受到的影獎短片《 Lady Eva 》與紀錄片《 Leitis in Waiting 》，後者於美國公共電視網

響。

Four boulders in Waikīkī pay tribute to healers whobrought their arts from Tahiti to Hawai‘i hundreds of years ago.
A plaque commemorates the healers’ contributions, but fails tomention that they were mahu – people of dual male and female
spirit. The Healer Stones of Kapaemahu tells the story of thesehealers and explores what happened to mahu as colonialism
swept across the Pacific.
On Honolulu's famed Waikiki Beach stand four giant
boulders placed as a tribute to the four legendary mahu –individuals of dual male and female spirit - who brought thehealing arts from Tahiti to Hawaii long ago. Although thestones have survived for centuries, their story has been hidden
and the respected role of mahu erased. The Healer Stones of
Kapaemahu documents the trail of post-colonial suppression
through the eyes of a Native Hawaiian director, herself mahu ,and uses rare archival materials, new historical findings,
and vivid animation to bring the unexpurgated story back tolife. This is the first feature documentary to be presented in
Olelo Kanaka Niihau, the only form of the Hawaiian language
unbroken by foreign contact.		

PBS 播出，聚焦於她住在東加王國的跨性別姐妹。希娜能說出一口流利的夏

威夷尼豪島方言 ( Olelo Niihau )，並在她的首部片《 卡佩瑪胡 》中使用該語

希娜勒姆安納．王卡盧

Hinaleimoana Wong-Kalu

言。此外，希娜是跨性別健康倡議者、喪葬委員會主席、夏威夷事務辦公室董事會候選人，也為了保護茂納開亞火山而譜寫國際知名歌曲〈 Ku Haaheo E
Kuu Hawaii 〉。

Kumu Hina is a Native Hawaiian teacher, cultural practitioner andfilmmaker who uses digital media to protect and perpetuate indigenous
languages and traditions. She began her film work as a protagonist andeducational advisor for the award winning films Kumu Hina and A Place in the
Middle , and received a National Education Association Human Rights Award,
Native Hawaiian Educator of the year and White House Champion of Change
for the groundbreaking impact campaigns associated with those films.
Continuing her journey to the other side of the lens, Kumu Hina produced theaward-winning short Lady Eva and PBS feature documentary Leitis in Waiting
about her transgender sisters in the Kingdom of Tonga. Kapaemahu is her
first film in Olelo Niihau, in which she is fluent. Hina is also a transgender
health advocate, burial council chair, candidate for the Board of Trustees of
the Office of Hawaiian Affairs, and composer of “Ku Haaheo E Kuu Hawaii,”
the internationally known anthem for the protection of Mauna Kea.

910迪恩．哈默是紐約時報年度好書作者與美國國家衛生研究院科學家。他的影視

喬．威爾森是艾美獎獲獎影人，致力於透過故事為社會的局外人發聲。他的長片作品榮獲艾美獎與 GLAAD 媒體獎，在人們現今對性取向與性別的理解中發揮重要影

與短片作品結合真人實景與動畫，以創新敘事探索迫在眉睫的社會議題。威爾森的作共同成立 Kanaka Pakipika 製片公司，製作一系列具深刻洞察力的影片，讓全世界

際頻道上累積數百萬觀看人次，也獲得日舞影展、福特與美國公共廣播協會支持。《卡響。哈默、他的夥伴喬．威爾森，以及在他前作中擔任主角的希娜勒姆安納．王卡盧

品曾在柏林、多倫多、翠貝卡等國際影展放映與獲獎，在 PBS、Netflix、ARTE 等國學習玻里尼西亞是如何以獨特方式增加多元性與包容性。哈默目前正為卡佩瑪胡巨石佩瑪胡》是威爾森與希娜勒姆安納．王卡盧第五度合作的影視作品。威爾森曾任社福撰寫相關著作、籌備相關博物館展覽。哈默曾出版暢銷非小說著作《 The Science of

基金會人權主任與 Pacifica 廣播電台《Democracy Now》節目製作人。

Desire》與《The God Gene》，擔任 BBC 與 Discovery 頻道顧問；他的研究曾登上

迪恩．哈默

Dean Hamer

時代雜誌、新聞週刊、科學期刊、Frontline 節目與歐普拉秀。

Dean Hamer is a New York Times Book of the Year author, National Institutesof Health scientist, and Emmy and GLAAD Media award-winning filmmaker whose
work has played an important role in current understandings of human sexuality andgender. He formed Kanaka Pakipika with partner Joe Wilson and prior film subject
Hinaleimoana Wong-Kalu to produce an insightful series of films that have opened
the eyes of the worlds to the lessons to be learned from Polynesia’s unique approachto diversity and inclusion. He is currently working on a book and museum exhibition
based on Kapaemahu . Hamer is also the author of several best-selling nonfiction
books including “The Science of Desire ” and “The God Gene ,” has been a consultant
for the BBC and Discovery channels, and his research has been featured in Time,
Newsweek, and Science magazines and on Frontline and Oprah.

喬．威爾森

Joe Wilson

Joe Wilson is an Emmy Award-winning filmmaker dedicated to telling stories thatemanate from the voices of those on the outside. His feature and short films combine
live action with animation to explore pressing social issues through innovative
storytelling. Wilson’s work has screened and won awards at festivals around theworld including Berlin, Toronto and Tribeca, been viewed by millions of viewers on
PBS, Netflix, ARTE and other international broadcasts, and has been supported by
Sundance, Ford and the Corporation for Public Broadcasting. Kapaemahu is his fifth
film in collaboration with Hinaleimoana Wong-Kalu. Previously, Wilson served as
Director of the Human Rights at the Public Welfare Foundation and a Producer ofPacifica Radio’s Democracy Now.

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導演介紹 Director Introduction

迪恩．哈默是紐約時報年度好書作者與美國國家衛生研究院科學家。他的影視作品

榮獲艾美獎與 GLAAD 媒體獎，在人們現今對性取向與性別的理解中發揮重要影響。哈
默、他的夥伴喬．威爾森，以及在他前作中擔任主角的希娜勒姆安納．王卡盧共同成立

Kanaka Pakipika 製片公司，製作一系列具深刻洞察力的影片，讓全世界學習玻里尼西亞是如何以獨特方式增加多元性與包容性。哈默目前正為卡佩瑪胡巨石撰寫相關著作、籌備相關博物館展覽。哈默曾出版暢銷非小說著作《The Science of Desire》與《TheGod Gene》，擔任 BBC 與 Discovery 頻道顧問；他的研究曾登上時代雜誌、新聞週刊、
科學期刊、Frontline 節目與歐普拉秀。

喬．威爾森是艾美獎獲獎影人，致力於透過故事為社會的局外人發聲。他的長片與

短片作品結合真人實景與動畫，以創新敘事探索迫在眉睫的社會議題。威爾森的作品曾

迪恩．哈默
Dean Hamer

傳統舞蹈新性別：薩摩亞羅傑斯舞團
THE ROGERS

Dean Hamer, Joe Wilson /2020 / 16’ / USA / HD / COLOR

本片在太平洋島嶼上，以親密角度一窺首批廣為人知的跨

人接受的寂寞、流落街頭，以及教堂、烹飪與跳舞帶來的同胞情誼，揭露了身處在深植於島嶼社會的文化與傳統中，將會為

An intimate glimpse of the first visible group oftransgender men in the Pacific Islands - the Rogers of
Samoa. From the loneliness of family rejection andhomelessness to the camaraderie of church, cooking, anddance, their stories reveal the challenges and possibilities oflife in an island society rooted in culture and tradition.

累積數百萬觀看人次，也獲得日舞影展、福特與美國公共廣播協會支持。威爾森曾任社
福基金會人權主任與 Pacifica 廣播電台《Democracy Now》節目製作人。

Dean Hamer is a New York Times Book of the Year author, National Institutes of Healthscientist, and Emmy and GLAAD Media award-winning filmmaker whose work has played
an important role in current understandings of human sexuality and gender. He formed
Kanaka Pakipika with partner Joe Wilson and prior film subject Hinaleimoana Wong-Kalu
to produce an insightful series of films that have opened the eyes of the worlds to thelessons to be learned from Polynesia’s unique approach to diversity and inclusion. He
is currently working on a book and museum exhibition based on Kapaemahu . Hamer isalso the author of several best-selling nonfiction books including “The Science of Desire ”
and “The God Gene ,” has been a consultant for the BBC and Discovery channels, and his
research has been featured in Time, Newsweek, and Science magazines and on Frontline
and Oprah.

性別男人群體—薩摩亞的羅傑斯。他們的人生故事包含不被家
生活帶來何種挑戰與可能性。

在柏林、多倫多、翠貝卡等國際影展放映與獲獎，在 PBS、Netflix、ARTE 等國際頻道上

喬．威爾森
Joe Wilson

Joe Wilson is an Emmy Award-winning filmmaker dedicated to telling stories thatemanate from the voices of those on the outside. His feature and short films combine live
action with animation to explore pressing social issues through innovative storytelling.
Wilson’s work has screened and won awards at festivals around the world including Berlin,
Toronto and Tribeca, been viewed by millions of viewers on PBS, Netflix, ARTE and otherinternational broadcasts, and has been supported by Sundance, Ford and the Corporation
for Public Broadcasting. Kapaemahu is his fifth film in collaboration with Hinaleimoana
Wong-Kalu. Previously, Wilson served as Director of the Human Rights at the Public
Welfare Foundation and a Producer of Pacifica Radio’s Democracy Now.

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導演簡介 Director Introduction ─

愛戀排灣笛Sounds of Love and Sorrow
Hu Tai-Li / 2000/ 86' / Taiwan / 16mm /COLOR

胡台麗女士為臺灣資深紀錄片導演、策展人與人類學家，曾任中央研究院民族學臺灣南部的排灣族有相當豐富而多樣的鼻笛與口笛吹奏傳研究所特聘研究員與所長，國立清華大學人類學研究所兼任教授，並擔任臺灣國際民統。本片透過四位與排灣笛結下不解之緣的代表性人物，在優族誌影展主席。編導製作紀錄片：《神祖之靈歸來》、《矮人祭之歌》、《蘭嶼觀點》、《穿

美哀淒的笛聲所伴隨的日常生活中呈現出排灣文化中最深沈的過婆家村》、《愛戀排灣笛》、《遇見尚．胡許》、《石頭夢》、《穿過後》、《讓靈魂回家》

情感與美感經驗。年長者津津有味地談論著難忘的青春戀情，等九部影片。

有喜悅，也有階級社會造成的悲情。雙管鼻笛聲模仿百步蛇的叫聲，哭訴著個人與族群哀傷的命運；單管與雙管口笛也傾吐

Hu Tai-li was a renowned documentary filmmaker, film festival programmer,

著對舊居土地與優美傳統的思戀。排灣族創始傳說中的百步and anthropologist in Taiwan. She was a research fellow and director at the

蛇、太陽、陶壺、熊鷹在影片中與笛聲結合，成為排灣族愛戀與哀思之情的象徵。

Sounds of Love and Sorrow lets the eerie sounds of
the Paiwan flutes including the nose flute, which legend
says imitates the call of the deadly hundred-pace snake,mix in with the recollections of tribal elders and traditional
tales to present a rich background of Paiwan life in
Taiwan. Tribal elders recall the days of the youth and theirromances. They tell of the creation of the Paiwan people,
and lament the end of tribal life, crushed by the irresistible
and contradictory forces of government policies and aliencultural influences. Talking of love, both the charm andcruelty of a traditional society are revealed. For many of
the Paiwan, love may be a high point of a young life – but it
is also the gateway to sorrow. But in the end, it is the highspirits, the playful romances and the family spirit of the
Paiwan which shine through.

Institute of Ethnology, Academia Sinica, as well as a concurrent professor at

胡台麗
Hu Tai-Li

the Institute of Anthropology, National Tsing Hua University. She was also thepresident of Taiwan International Ethnographic Film Festival. She has directed
and produced nine documentary films (The Return of Gods and Ancestors, Songsof Pasta’ay, Voices of Orchid Island, Passing Through My Mother-in-law’s Village,
Sounds of Love and Sorrow, Encountering Jean Rouch, Stone Dream, After
Passing, and Returning Souls ).

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16

導演簡介 Director Introduction ─

胡台麗女士為臺灣資深紀錄片導演、策展人與人類學家，曾任中央研究院民族學研究所特聘研究員與所長，國立清華大學人類學研究所兼任教授，並擔任臺灣國際民族誌影展主席。編導製作紀錄片：《神祖之靈歸來》、《矮人祭之歌》、《蘭嶼觀點》、《穿

過婆家村》、《愛戀排灣笛》、《遇見尚．胡許》、《石頭夢》、《穿過後》、《讓靈魂回家》
等九部影片。

遇見尚．胡許Encountering Jean Rouch

Hu Tai-li was a renowned documentary filmmaker, film festival programmer,
and anthropologist in Taiwan. She was a research fellow and director at the

Hu Tai-Li / 2003 / 11’ / Taiwan / DV / COLOR

Institute of Ethnology, Academia Sinica, as well as a concurrent professor at
這部短片是胡台麗 2002 年到巴黎參加尚．胡許創辦的法國國際民族誌影展期間拍攝的。目的是為了於 2003 年臺灣國際民族誌

胡台麗
Hu Tai-Li

the Institute of Anthropology, National Tsing Hua University. She was also thepresident of Taiwan International Ethnographic Film Festival. She has directed
and produced nine documentary films (The Return of Gods and Ancestors, Songs

影展時將主題導演尚．胡許介紹給臺灣觀眾。沒想到尚．胡許竟於

of Pasta’ay, Voices of Orchid Island, Passing Through My Mother-in-law’s Village,

類學博物館中的收藏品被移至另一展館的憤怒、他無政府主義者的Passing, and Returning Souls ).

2004 年過世了。在這部影片中尚．胡許談到他的新婚姻、他對人
傾向、他的夢想與幻想等。

This short film was shot in 2002 during Bilan du Film
Ethnographic for the purpose of introducing Jean Rouch tothe audience at 2003 Taiwan International Ethnographic film
festival. Unexpectedly, Jean Rouch passed away in 2004. In
this film Jean Rouch talked about his new marriage, his anger
towards the moving of the artifacts of the Mankind Museum, hisanarchistic nature, his dreams and fantasies, etc.

Sounds of Love and Sorrow, Encountering Jean Rouch, Stone Dream, After

17

18

客家說唱一甲子 徐木珍

導演簡介 Director Introduction ─

60 Years of Sining Ballad in Hakka：Mu-Zhen Xiu

古少騏 / 2023 / 53’ / Taiwan / FHD / COLOR

資深客家文化工作者。出生於高雄旗山的美濃移民家庭，原母語為四縣客語，後Hakka Ballad is the traditional

長期於新竹工作，嫻熟海陸客語。目前從事影音工作，喜好口述歷史題材，曾任新竹

medium for the Hakka to express feelings

縣文化局國民記憶庫專題製作人、客委會耆老口述專題製作人；紀錄片作品曾獲金穗

or tell history in the agricultural society.

獎入圍、兩度國際民族誌影展優選；文學作品曾獲鍾肇政文學獎報導文學首獎、吳濁People would sing their thoughts by

流文藝獎新詩二獎。

impromptu lyrics, which was called SuiKeu-Loi ( sing as it comes ).

古少騏Mu-Zhen Xiu was born in the Hsinchu

Ku Shao-Chi

Ku Shao-Chi is a senior Hakka culture worker born in Qishan. Her family
was originally from Meinong. Sixiian dialect is her native tongue. She has beencountryside in 1944. Due to his blindness,

living and working in Hsinchu for long so she speak fluent Hoiliu dialect as well.

he was good at singing Hakka Ballad

Currently, she devotes herself to video content creating and favors oral history.

along with urheen since childhood, andShe produced Folk History Library for Department of Cultural Affairs, Hsinchu

became a famous Hakka Ballad grandCounty Government and Oral History of Senior Civilization for Hakka Affairs

master later.

Council. She was nominated for Golden Harvest Awards for Outstanding ShortFilms and awarded merit award twice in Taiwan International Ethnographic Film

客家山歌是農業時代客家民族表達情意或講述歷史的傳統媒介，往昔「我口唱我心」的即興唱詞，被稱為「隨口來」。

1944 年生於新竹芎林鄉間的徐木珍，因為眼盲，自幼即擅長以山歌二弦往來唱

和，成為名聞全臺的客家山歌即興大師。

在今日客家山歌逐漸表演化以及母語流失的趨勢下，山歌失去即興交流功能，徐木珍的「隨口來」愈形孤獨及珍貴，他在 2020 年底去世，本片記錄其一生行跡。

Today, with the gradual loss of thelanguage, Hakka Ballad has become aform of performance. The Hakka do notcommunicate with ballads anymore.
The excellent skill of Sui-Keu-Loi makes
Mu-Zhen Xiu seem lonely and precious.
The grand master passed away at theend of 2020, and this film records hisstory.

Festival. She won first prize of Nonfiction in Zhao-Zhen Zhong Literature Prizeand second prize of Modern Poetry in Zhuo-Liu Wu Literature Prize.

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20

我念的原住民專班

導演簡介 Director Introduction ─

The Challenge of Indigenous Education：
Practice and Perspectives
撒舒優・渥巴拉特 Sasuyu・Ubalat2022/ 56’ / Taiwan / FHD / COLOR

The Ministr y of Education has urged colleges anduniversities to establish a Bachelor's Degree Program for
Indigenous Peoples since 2003.
But as far as positioning is concerned, this is not a general
department, and there is no general department with at least
seven full-time professors. Some of the Bachelor's Degree
Program for Indigenous Peoples, there is not even a full-time
professors. Building higher education with indigenous people
as its main focus is difficult due to the lack of resources andunfriendly system, making it difficult to construct.

2003 年起教育部鼓勵各大專校院設立「原住民專班」，但定位上不是一般科系，

也沒有一般科系至少有七名的專任師資，有些原專班甚至一名專任師資都沒有，資源的缺乏與不友善的制度之下，難以建構以原住民族為主體的高等教育。紀錄片裡可以
看見 Tjuku 老師很努力的在爭取各項資源，用心的去發展原專班應有的課程內容，希望培育出熟悉傳統文化並結合專業學科，從原住民觀點來為原住民社會服務的人才。
而學生 Taba、Azima、Kaynga 雖然在都市長大，但他們很積極的透過課程與實踐找回與山林之間的關係，最後能獨單一面走入山林，將傳統陷阱的知識於畢業展來分享，那種族群自信的表現可期待原專班未來的各種可能性。

In the documentary, we see that Professor Tjuku is working
tirelessly to obtain different resources. She is responsible forcarefully developing the course content that the Bachelor's
Degree Program for Indigenous Peoples should have, with theaim of nurturing students who are familiar with traditional
culture and integrating professional disciplines. Talent at theservice of Indigenous society from an Indigenous perspective.

撒舒優・渥巴拉特
Sasuyu・Ubalat

原住民族在臺灣各角落存在著許多文化議題、教育問題、

產業發展、土地爭議等事件，有感於自己身為原住民的一份子，
投入獨立影像工作者的行列，目前大多以原住民族來做為拍攝
題材，用影像為原住民族人發聲，用原住民的觀點述說屬於自己的故事。

Indigenous peoples have been affected by cultural,
educational, industrial, land disputes, and other incidents invarious parts of Taiwan.

Although the students Taba,Azima and Kaynga grew up
in the city, they are very active in finding the relationship withthe mountains through courses and practice, and finally they
can walk into the mountains alone. They presented and shared
their understanding of the traditional pitfalls at the graduation

people, he has become an independent film maker.

exhibition. The implementation of ethnic self-confidence can
expect various opportunities in the future of the Bachelor's
Degree Program for Indigenous Peoples.

narrating his own stories from the perspective of indigenous

Considering the fact that he belongs to the Indigenous
Indigenous people are the focus of the director's film, andhe uses images to speak for indigenous people, while also
people.

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揹獵物的女人The Woman Carrying the Prey
余欣蘭 Rngrang．Hungul

導演簡介 Director Introduction ─

2023 / 69’ / Taiwan / FHD / COLOR

余 欣 蘭， 花 蓮 銅 門 部 落 的 太 魯 閣 族 人， 族 語 名 字 為 Rngrang．Hungul，Rngrang 是名字，Hungul 是父親的名字。Rngrang 的創作方式以長期的田野影像為基礎，關注族群在當代所面臨的議題為出發，擅長從女性的視角出發，將部落裡日常、親密的個人經驗轉化為創作元素，藉以反覆錨定與傳統文化連接的方法。陸續在2020 年至 2023 年完成了多部紀錄片，作品有《Mgaluk Dowmung—正要連結銅門》、《我是女人，我是獵人》、《揹獵物的女人》與《山上的人》。

隨著冬天來臨，Heydi 帶著姪兒重返舊獵場，重新開路與

巡視新獵徑，為期四個月的狩獵季節，Heydi 在自己守護了一

輩子的土地上，一步一步帶著姪兒進入了她的狩獵世界。本片以親密而沉穩的鏡頭紀錄 Heydi Mijung，以女性獵人入山的日

常生活逐步建構出人與生態、動物相互依存的關係，遵循著祖訓 Gaya ，一步一步的踏在祖先的土地上，用自己的狩獵方式
守護了整座森林。

The Woman Carrying the Prey expresses women's
perseverance and strength by extension. "Carrying" is not only
about the physical weight, but also about the continuationof the hunter's traditional hunting culture. The relationshipbetween human, ecology and animal interdependence isgradually built up through the daily life of a female hunter inthe mountains.
This film is about Heydi Mijung, a woman of the Truku andthe only female hunter in the tribe, who follows the ancestral
tradition of Gaya , practices the traditional hunting skills of the
Truku, and maintains the balance of the entire forest with her
hunting methods. As winter approaches, Heydi returns to theold hunting grounds with her nephew to retrace the path andinspect the new hunting trails. During the four-month hunting
season, Heydi leads her nephew step by step into her hunting
world on the land she has been guarding for a lifetime.

余欣蘭
Rngrang．Hungul

Yu Hsin-lan, originated from the Truku tribe, whose ethnic name is
Rngrang·Hungul, Rngrang being her first name and Hungul in her father's name.
Rngrang's works are based on long-term visual fieldwork and focus on contemporary
issues of indigenous people. She excels in transforming daily situations and intimate
personal experiences of the tribe into creative elements from a woman's perspective,
thereby debating the positioning and methods of reconnecting individuals withtraditional culture in contemporary society.
Her recent works include“Mgaluk Dowmung, Connecting with Dowmung”,“Woman
the Hunter”, “The Woman Carrying the Prey”, ”Mountain Keepers ”.

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導演簡介 Director Introduction ─

窮山惡水電影小組
Badlands Film Group窮山惡水電影小組是一支創立於二零二零年的實驗紀錄片小組，其作品常以地理媒介的視角聚焦當代中國的底層社群，試圖重新想像屬於弱者的武器。

備忘錄

The Memo

窮山惡水電影小組 Badlands Film Group / 2023 / 30’ / China / Digital/ COLOR
這是一對困於上海廉租房的電影製作人情侶的影像日記。

面對無盡的瘋狂，有人瘋了，有人攝影機破「窗」而出，見證
了這個國家史無前例的社會隔離運動。

This is a video diary of the surreal lockdown made by
the filmmaker couple who were trapped in a small, rented
apartment in Shanghai. In the face of endless madness, thecamera gradually breaks free from the window and observes avast social isolation unprecedented in the country's history.

Badlands Film Group is an experimental doc group
founded in 2020, whose works often focus on marginalized
communities in contemporary China from the perspective ofgeomedia poetics, attempting to re-imagine the weapons of
the weak.

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26

導演簡介 Director Introduction ─

夢洄Swirling in the dreams

蘇弘恩 Su Hung-En / 2022 / 78’ / Taiwan / 4K UHD / COLOR

蘇弘恩，出生於臺灣，原住民跟閩南人的混血兒，穿梭在兩種身分之間，讓他可以從不同角度來觀察這個世界。時常跟著太魯閣族的外祖父上山工作，喜歡描寫人與
土地的關係。目前專注於社會議題與環境議題的創作。

Su Hung-en has indigenous and Taiwanese heritage. Growing up switching

蘇弘恩
Su Hung-En
儘管處在基督宗教昌盛與醫學發達的年代，對原住民族來

說，傳統信仰始終是被需要的。想要知道往生者的心願，只能透過巫醫的占卜與儀式來得到解答。在當代，這些傳達祖靈意

志的人，數量日漸稀少，但他們仍舊堅守岡位，希望能夠建立橋樑；但不論是尋求儀式的患者，還是巫醫本身，在儀式後仍
有各自的問題要面對。

In spite of the spread of Christianity and introductionof modern medicine, Taiwan’s indigenous peoples havealways had a need for their traditional beliefs. For thepeople in these tribes, when they seek to know the wishesof the deceased, they can only find answers through thedivination and rituals performed by shamans. Nowadays,
shamans are becoming fewer in number, yet still hope tobuild bridges between reality and the spirit world. However,both the suffering patient who wishes to have a ritual
performed and the shaman performing the ritual have theirown troubles. Can these wounded spirits find healing in
beliefs?

between identities, helps him to see the world from different perspectives. His
works focus on a mix of indigenous and social issues.

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28

導演簡介 Director Introduction ─

莊麗華（製作人／導演）

美國芝加哥藝術學院視覺傳達研究所畢業
經歷：茱莉亞廣告傳播有限公司創意總監

2014~2019 中國文化大學數位媒體設計系助理教授
2000~2013 國文化大學創新媒體中心主任
經濟騰飛年代，月亮男人身影，總出現在最高大樓 ( 101 大樓 )，最深礦坑 ( 海山煤礦等礦區 )，最遠海上 ( 遠洋漁業 )，最邊緣國度( 80 年代以前為國際移工 )，在國人腳踏重大建設的每一塊土地上，
從未缺席，更是臺灣經濟成就不可或缺的角色，只是心事無人知，

那些年是賠掉健康，家庭甚至還有回不去的年歲青春與文化、母語
的日子。

月亮．男人

Man Under The Moon莊麗華 Julia Juang

2022 / 50’ / Taiwan / 4K / COLOR

Always appeared in the tallest building (Building 101).
Under the deepest pits (mining areas such as Haishan Coal Mine),
In the furthest sea (pelagic fishery)In the most marginal countries (before the 1980s, they wereinternational migrant workers) On every piece of land where ourpeople stepped on major constructions, they have never beenabsent.
They played indispensable roles in Taiwan's economic success.
Behind their minds, during those years they have lost their health,
Even the family has the days of un-retrieved youth, culture andmother tongue.

莊麗華Julia Juang

2014~2017 台灣錄影傳播事業協會理事長

2011~2012 國際扶輪社 3520 第七分區高峰扶輪社社長

1996~2013 曾任兼任講師於國立臺灣藝術大學、彰化師範大學美術系、輔仁大學應
用美術系、國立政治大學廣電系、中國文化大學廣告Julia Juang (Film Producer/Director)
Education：The School of The Art Institute of Chicago Visual Communication
Department, Master of Fine Arts
Experience：
Julia Advertising & broadcasting, Creative Director
2014~2019 Assistant Professor, Chinese Culture University
2000~2013 Director of Creative Media Center, Chinese Culture University 2014~2017
Chairman of Taiwan Video Media Association
2011~2012 President of International Rotary Club, Rotary of Taipei Summit Club
1996~2013 Adjunct Assistant Professor at National Taiwan University of Arts,
Department of Fine Arts, Changhua Normal University, Department of Applied Arts,
Fu Jen Catholic University, Department of Radio and Television, National Chengchi
University, and Department of Advertising, Chinese Culture University

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導演簡介 Director Introduction ─

1999 年開始拍攝紀錄片及短片至今，共約 20 多部品長短紀錄作品。作品曾 4 度獲台灣金穗獎，4 度獲台灣地方志影展獎項，5 度入選臺灣國際紀錄片雙年，4 度入圍台北電
影節，2 度入圍金馬獎，並獲金鐘獎非戲劇類最佳導演及其他國外影展獎項。劇情片方面
曾入圍金鐘獎及台灣國際兒童影展。

李立劭的作品，擅長挖掘邊陲的歷史與人物議題，從臺灣擴及東南亞的歷史，探討二

戰後，臺灣在地緣政治下所面對的戰爭遺緒及歷史詮釋及國族認同議題。例如泰緬邊境的

李立劭
Lee Li-Shao
桃園航空城是臺灣有史以來最大的都市計畫，上萬居民不得以搬離

他們賴以為生的土地，空間及歷史產生鉅變。

為了留下最後的的家園記憶，我們以空間為橫座標，歷史為縱座標，

在即將夷為平地之際，記錄下五味雜陳的複雜的情緒，展開未來的歷史
行動。

記憶家園

When we are together
李立劭 Lee Li-Shao2023 / 84’ / Taiwan / 4K / COLOR

The Taoyuan Aerotropolis marks Taiwan's largest-ever urban project,in that tens of thousands of people were to be vacated for relocation fromthe land lot that supported their livelihood, ensuing in the sea change ofspace and history.
To leave behind some last memories of the place people called
home, time and history were employed as the X- and Y-axis respectively
to document a complicated mixture of sentiment that embodies an act ofhistory to slice into an unfolding future, whereas bulldozers and wrecking
balls were on the mark to level the ground.

游擊隊歷史，以及緬甸戰場的遠征軍與日軍故事。近年則致力於臺灣藝術史及地方史的紀錄，記憶家園為最新作品。

LEE Li-Shao entered the space of short films and documentaries in 1999 and has
won four Golden Harvest Awards for Outstanding Short-Films to-date and the Taiwan
international Documentary Festival. Lee is also a familiar nominee to the Golden HorseAwards, the Golden Bell Awards, and the Taipei Film Festival. Lee excels at documenting
borderline characters of history, and his signature work is the “Trilogy of the Golden
Triangle Guerrilla ”. ”Myanmar Remembered ” is Lee’s most recent work that tells the storyof the Burmese battlefield during World War II.

2000 Flower Isiand . (60min)
2012 Boundary Revelation (73min)2000 Coaling 921 (24min)2015 Southland Soldiers (63min)2000 Grandmother from Hainan Island (24min) 2016 Stranger in the Mountains (140min)
2001 1935 Earthquake (93min)2003 Dancing in the rainbow (60min)
2004 Waiting (30min)
2005 Molia (25min)2010 RONDO (25min)2017 Landscapes (60min)2017 Boys in Pixelation (103min)

2021 Solo Dancer (83min)
2022 Myanmar Remembered (123min)

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導演簡介 Director Introduction ─奧井．拉拉是藝術家與文化工作者，從事影片製作、表演與社群參與。她的作品

透過職業勞工的表演，探索身份、流散與歸屬等主題。奧井也與馬來西亞和日本的非營利組織、工會與不同社區合作舉辦攝影與影片工作坊。

奧井．拉拉
Okui Lala

印尼移工疫情中的數位社群
Rasa dan Asa
Okui Lala, Nasrikah
2021 / 26’ / Malaysia / Digital / COLOR

Okui Lala is an artist and cultural worker; her practice spans from video andperformance to community engagement. Her work explores themes of identities,
diaspora and belonging through the performances of vocational labor. Okui also
facilitates photos and video workshops with nonprofit organizations, unions anddifferent communities in Malaysia and Japan.

本片是一部短紀錄片，由一群居住在馬來西亞的印尼家事

移工所拍攝；他們在 2021 年疫情高峰時得到影片製作團隊的納斯里卡是印尼移工，自 1997 年以來便居住在馬來西亞。她在 PERTIMIG（馬幫助。Rasa dan Asa 在印尼語中代表「滋味、感受與希望」。

來西亞印尼家事移工協會）擔任顧問，也在 IDWF（國際家事勞動者聯合會）擔任實

在片中，賓蒂與尼格拉姆訴說著鮮少公開的私密故事，講述外

地協調員。她的倡導重點在於為家事移工爭取同等尊重、地位與訴諸司法的權利。此籍移工的毅力。

Rasa dan Asa is a short documentary film shot by a groupof Indonesian domestic workers living in Malaysia, assisted
by a team of video makers, at the height of the 2021 Covid-19
pandemic. In the Indonesian language, “Rasa dan Asa ” means“taste, feeling and hope”. Through the film, Binti and Ningrum
told intimate stories of endurance as migrant domestic
workers, that are rarely told in the public.

外，納斯里卡還是一名詩人，也是藝術文化活動的協調員。

納斯里卡NasrikahNasrikah is an Indonesian migrant worker who has been living in Malaysia
since 1997. She is an advisor for PERTIMIG (Indonesian Migrant Domestic Workers
Association in Malaysia) and a field facilitator for IDWF (International Domestic
Workers Federation). Her advocacy focused on campaigning for migrant domestic
workers to be treated with the same respect, status and access to justice as workers.
Nasrikah is also a poet and coordinator for arts and cultural events.

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導演簡介 Director Introduction ─

樹葉窸窣呢喃：賽隆之歌

Felix K. Nesi is an author from the small town of
Insana, West Timor, not far from the Indonesian border

Sailum: Song of The Rustling Leaves

with Timor Leste. He has made critically-acclaimed
work inspired by history and colonialism.

Felix K. Nesi, Moses Parlindungan Ompusunggu / 2023 / 29’ / Indonesia / Digital / COLOR

His novel "Orang-Orang Oetimu " was awarded
the Best Manuscript prize from the Jakarta Arts菲利克斯．K．內西
Felix K. Nesi

摩西．帕林頓甘．奧普桑古
Moses Parlindungan Ompusunggu

Council in 2018. It then won the Indonesian Ministryof Education and Culture's literary award in 2021.
In 2019, he attended a writer's residency in the
Netherlands organized by the Indonesian National

菲利克斯．K．內西是一名作家，來自西帝汶的小鎮—印薩納鎮 ( Insana )，該鎮距離東帝汶與印尼的交界處不遠。他曾推出受到歷史與殖民主義影響的作品，
廣受好評。

他 的 著 作《Orang-Orang Oetimu》 於 2018 年 獲 得 雅 加 達 藝 術 發 展 局 (Jakarta Arts Council ) 的最佳書稿 ( Best Manuscript ) 獎項，並於 2021 年獲得

印尼文化教育部 ( Indonesian Ministry of Education and Culture ) 的文學獎。
在 2019 年，他到荷蘭參加由印尼國家書籍委員會 ( Indonesian National Book
Committee ) 所籌備的作家駐村計劃。在 2022 年，他獲得參加國際寫作計劃(IWP) 的機會，該計劃由美國愛荷華大學所主辦。此外，他在祖國的國際文學活動舉辦關於文學與衝突解決的演講，活動如印尼讀者與作家節 ( Ubud Writers

and Readers Festival )、莎利哈拉文學雙年展 ( Literature and Ideas Festival

本紀錄片以親密與私人的角度致敬印尼的本土農業文化。

此文化以傳統棕櫚酒為核心，融合數百年來對宗教的奉獻，並存在於全球最大的穆斯林人口國家中唯一以天主教為主的地
區。

This intimate and personal documentary pays homage toan indigenous agrarian culture in Indonesia that centers on a
traditional palm wine and blends with a centuries-long religious
devotion in the only predominantly Catholic region within theworld's largest Muslim-majority country.

Salihara ) 與望加錫國際作家展 ( Makassar International Writers Festival )。

摩西．帕林頓甘．奧普桑古是印尼籍紀錄片導演與多媒體記者，喜歡探索非虛構電影的實驗性製作方法。於 2020 年獲得倫敦大學學院民族誌與紀錄片電
影碩士學位，他的首部紀錄長片《Tano Na Uli, Hagodanganki》( Motherland

Book Committee. And in 2022, he got the chance tojoin the International Writing Program (IWP) hosted
by the University of Iowa, US. He has also given talks
about literature and conflict resolution at international
literary events in his native country, such as Ubud
Writers and Readers Festival, Literature and Ideas
Festival Salihara and Makassar International Writers
Festival.
M o s e s Pa r l i n d u n g a n O m p u s u n g g u i s a n
Indonesian documentarian and multimedia journalist
who likes to explore experimental approaches in
nonfiction filmmaking. As a Chevening Scholar,
he graduated with an MA in Ethnographic andDocumentary Film from University College London
in 2020. His long documentary debut, "Tano Na Uli,
Hagodanganki " (Motherland Memories), was awarded
the Best Indonesian Feature-Length Documentary by
Yogyakarta Documentary Film Festival (Festival Film

Memories ) 於 2022 年 被 日 惹 紀 錄 片 影 展 ( Yogyakarta Documentary Film

Dokumenter) in 2022. He founded Atmakanta Studio,

Atmakanta Studio。自 2018 年以來，他參與數位調查工作，深入探究印尼的網

2018, he has also been involved in digital investigation

Festival ) 評 選 為 最 佳 印 尼 紀 錄 長 片。 他 在 2022 年 初 成 立 紀 錄 片 製 作 公 司
路宣傳世界。

a documentary production house, in early 2022. Sinceworks, delving into the world of online propaganda inIndonesia.

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導演簡介 Director Introduction ─

Paola Calvo is a Venezuelan-born film director andcinemtagrapher. She is the one half of the Directors &點燃新時代：古巴網紅

Cinemtographers Duo TUMULT. In Madrid she graduatedin Media Studies at the Universidad Complutense. A year

DINAMITA

later, she began studying cinematography at the German
Film and Television Academy Berlin (dffb). Documentary

Paola Calvo, Steffen Köhn

filmmaking is the context in which Paola has found the2022 / 25’ / Germany, Cuba / Digital / COLOR

most interesting visual and narrative forms for herself. She
has received several awards for her work. In her career
she has worked with Pepa San Martín, Katarina Schröter,保拉．卡爾沃

史蒂芬．科恩Paola Calvo,

Steffen Köhn

保拉．卡爾沃於 1981 年出生於委內瑞拉。在馬德里康普頓

斯大學完成視聽傳播碩士學位後，她在柏林德國電影電視學院 (dffb ) 學習，專攻紀錄片導演和攝影，以紀錄片《The Visitor》( 2014 ) 的攝影作品獲得 2014 年柏林電影節最佳攝影獎。2016

年她完成最具代表性的導演作品《 Violently Happy 》。2019 年，
她與 Patrick Jasim 和 Phillip Kaminiak 在柏林共同創立了製Dina Stars and Adriano ComePizza represent the

創作者。這些年輕人對社會與政治議題擁有明確的想法，也想pioneer generation of YouTubers in Cuba, a country where

創作者迪娜親身遭遇性侵犯後，她重新評估網路平台的功用；

the government out of fear of freedom of information and

要將這些想法傳達給全世界。然而，自從其中一位 YouTube
她現已將自己的頻道奉獻於女權議題。他們不僅透過數位媒體
表達自我，也經歷與參與了古巴近期的轉變。

until recently, internet access was heavily controlled byexpression. After surviving an attempted sexual assault, Dina
devotes her channel to women's rights issues. However, herpolitical activism invites consequences when in 2021, Cuba
witnesses the largest anti-government protests in decades.

to image intimacy for the big screen, she shot Violently

Happy , a 90-minute documentary that was released inGerman cinemas from January to March 2017. In 2019, she
co-founded the production company TUMULT with Patrick
Jasim. The film "Luchadoras " is her debut together withPatrick Jasim. The Film was shortlisted for the Academy
Film Awards in Germany in 2023.
Steffen Köhn is a filmmaker, anthropologist and video

作 公 司 Tumult。 她 和 Jasim 製 作 紀 錄 片《Luchdoras》( DE/

artist. He uses ethnography to understand contemporary

女性形象的故事。在 2021 年 SXWS 電影節首映後佳評如潮，

and installation works he collaborates with gig workers,

MX )，講述關於華雷斯城的三名女摔跤手尋求重新定義墨西哥
本片跟隨一群由千禧世代青年所組成的初代古巴 YouTube

Julius von Bismarck and Moritz Frei, among others. Aiming

在霍夫國際電影節和諾丁漢國際電影節榮獲紀錄片獎，在後者

亦獲得最佳導演獎；在塞薩洛尼基國際影展獲得了費比西獎、
評審團特別獎和觀眾獎；並於 2022 年 3 月在德國院線上映。

史蒂芬．科恩是電影工作者、人類學家與錄像藝術家，利用民族誌來理解當代社會技術景觀。他與當地合作，拍攝以研究為基礎的錄像作品，探索現今科技分配與權力配置的可用替
代方案。

sociotechnical landscapes. For his research-based video
designers, fellow artists, software developers fellow artists,
software developers or science fiction writers, His work has
been shown at the Akademie der Künste Berlin, Kunsthaus
Graz, Vienna Art Week, Hong Gah Museum Taipei, Lulea
Biennale and the ethnographic museums of Copenhagen
and Dresden, among others. His films have been shown at
the Berlinale, Slamdance and the International Film Festival
Rotterdam, among others.

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38

離散藍調：希臘 Rembetika
My Rembetika Blues

Mary Zournazi / 2021 / 83’ / Australia, USA / COLOR

導演簡介 Director Introduction ─「Rembetika」是一種在流亡和街頭誕生的音樂，起源於 20
世紀初的大量人口遷移。導演瑪麗．祖爾納齊追溯了她的祖先從土
耳其遷徙到澳洲雪梨的過程，然而在這過程當中，她不僅發掘家族
軼事，更因此得知音樂是如何在過去的艱困環境中作為寄託，成為人們的精神支柱。《離散藍調：希臘 Rembetika》講述了一段關於音樂和移民所不為人知的精彩歷史故事。
Rembetika music or the Greek blues is a music bornof exile and the streets. Developing its roots from the massmigration of people in the early twentieth century, filmmaker
M. Zournazi traces the journey of her forebears from Smyrna
in Turkey to Sydney Australia but discovers more than family
history, she finds out how music connects people during timesof struggle and crises. By weaving together different stories
of music and migration, she documents experiences that areoften left out of the chronicles of history.

瑪麗．祖爾納齊Mary Zournazi

瑪麗．祖爾納齊是澳洲電影工作者、作家與文化哲學家。
她的多次獲獎紀錄片作品《 Dogs of Democracy 》( 2017 年 ) 在
世界各地被放映。祖爾納齊的最新紀錄片作品《 離散藍調：希臘Rembetika 》是一部關於人生、愛情與希臘音樂的電影。她的多
本著作包含《 Hope ─ New Philosophies for Change 》、與德國電
影工作者 Wim Wenders 合著的《 Inventing Peace 》，以及近期與
Rowan Williams 合撰的《 Justice and Love 》。
M. Zournazi is an Australian film maker, author and culturalphilosopher. Her multi-awarding winning documentary Dogsof Democracy (2017) was screened worldwide. Her most recent
documentary film, My Rembetika Blues is a film about life, love
and Greek music. She is the author of several books including
Hope - New Philosophies for Change , Inventing Peace with theGerman filmmaker Wim Wenders and most recently Justice andLove with Rowan Williams.

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40

北極之聲

導演簡介 Director Introduction ─

The Voices of the Arctic
Ivan Vdovin / 2022 / 86’ / Russia / Digital / COLOR

艾凡．弗多溫是導演與製作人，作品包含紀錄片、影集、品牌內容與廣告。他曾在 2018 年坎城國際創意節 (Cannes Lion) 獲獎，也在 2023 年金鷹獎 ( Golden Eagle )獲得提名。

艾凡．弗多溫
Ivan Vdovin從 2011 年 到 2018 年， 他 擔 任 紀 錄 片 影 集《 Rufery 》 的 創 意 製 作 人 ( 由A. Uchitel 指導的 Rock Film 電影製片廠、Cosmos Studio 電影製片廠 )。在 2018
年，他以副總製作人身份為 Health TV Production 製作節目，同時也與杜拜的 TFPS
agency 合作拍攝自創作品《 Zakura 》。

Director and producer of documentary films, series, brand content andadvertising. Winner of the Cannes Lion (2018), nominee of the Golden Eagle (2023).
From 2011 to 2018 he was a creative producer of the documentary series"Rufery " (film studio "Rock Film" under the direction of A. Uchitel, "Cosmos
Studio"). In 2018 he was Deputy General Producer for the production of Health
TV Production. At the same time, he filmed the author's project Zakura . He
collaborates with TFPS agency (Dubai).
本片講述的三段故事，皆是關於居住在極北方的人們與他

Three stories about the people of the Far North們的人生抉擇。每段故事皆為角色人生中的傳統、生活與音樂and their life choices. Each short story is an essay about

爭。

film is about the struggle of two civilizations: the modern

做出論述。本片講述兩個文明社會—現代世界與此地族群的鬥

traditions, life and music in the life of the characters. The
world and the ethnic group.

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導演簡介 Director Introduction ─

恩斯特．卡雷爾從事聲音工作，包含為多聲道裝置與表演執行實驗性寫實音效、

電聲音樂，以及為寫實電影進行聲音後製。他的作品注重現場錄音，並使用未經處理
的現場錄音作曲；在表演中，他有時會將現場錄音作品與類比電子音樂結合，創造出

能在抽象概念與紀錄片之間來回流動的音效。他的作品曾在阿姆斯特丹 Sonic Acts
藝術節、柏林兵工廠 ( Arsenal )，以及 2014 年惠特尼雙年展 ( Whitney Biennial ) 等
地點展出。他與 Helen Mirra 合作的聲音裝置曾在波士頓嘉納藝術博物館 ( Gardner

Museum )、麻省理工學院視覺藝術中心 ( MIT List Visual Arts Center )，與 2012 年

新幾內亞田野錄音恩斯特．卡雷爾Ernst Karel

EXPEDITION CONTENT

1961 年，羅伯．嘉納組織哈佛皮保德探險隊前往西巴布亞( 荷屬新幾內亞 ) 與胡布拉人生活五個月，而來自富豪家族的麥

可．洛克斐勒負責拍攝錄音。此探險產出了電影《 死鳥 》、攝
影集、彼得．馬修森的著作《 山牆下 》，以及兩篇民族誌專著。
本片擴增音效，使用 37 小時錄音素材，記錄此段過程，並反思人類學發展歷史、洛克斐勒的生活，與西巴布亞持續的殖民歷史。

Lucien Castaing-Taylor 和 Véréna Paravel 合作的《 Ah humanity! 》，以及 2014 年

與 Toby Lee 和 Pawel Wojtasik 和合作的《 Single Stream 》。他與哈佛大學的感官
人類學實驗室 ( Sensory Ethnography Lab ) 合作，為多部電影製作音效，如《 TheIron Ministry 》，《 Manakamana 》與《 Leviathan 》，也開設一門「聲音民族誌」實

Ernst Karel, Veronika Kusumaryati
2020 / 78’ / USA /16mm/ COLOR

聖保羅雙年展 ( Sao Paulo Bienal ) 展出。他的多聲道聲音影片作品包含 2015 年與

踐課程，並在該課程中擔任教師。他目前是南加州大學民族誌媒體藝術中心 ( Center

An immersive marvel of sonic ethnography, Expedition
Content draws on audio recordings made by recent college
graduate and Standard Oil heir Michael Rockefeller as part ofthe 1961 Harvard-Peabody Expedition to Netherlands New
Guinea that set up tents among the indigenous Hubula (alsoknown as Dani) people.
In their nearly imageless film, Karel and Kusumaryati
document the strange encounter between the expedition andthe Hubula people. The work explores and upends the power
dynamics between anthropologist and subject, between
image and sound, and turns the whole ethnographic project
on its head.

for Ethnographic Media Arts ) 的客座教授。

維羅妮卡．庫蘇馬里亞蒂是政治與媒體人類學家，工作地區為美拉尼西亞與東南亞。她的學術研究涉及殖民主義、去殖民化，與後殖民性的理論與歷史學。她目
前 正 在 撰 寫 名 為《Ethnography of a Colonial Present: History, Experience, andPolitical Consciousness in West Papua》的民族誌書稿，該書探討西巴布亞地區的殖民主義日常經驗與政治意識的形成；“西巴布亞”一詞具有自我認同意味，指涵蓋維羅妮卡．庫蘇馬里亞蒂
Veronika Kusumaryati

印尼巴布亞省與西巴布亞省的地區。她在雅加達藝術學院獲得學士學位，主修電影與

媒體研究。她是感官人類學實驗室（Sensory Ethnography Lab）的成員，目前在威
斯康辛大學麥迪遜分校擔任人類學助理教授。

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Ernst Karel works with sound, including experimental nonfiction sound works for
multichannel installation and performance, electroacoustic music, and postproduction
sound for nonfiction vilm. His work focuses on the practice of location recording andcomposing with unprocessed location recordings; in performance he sometimes
combines these with analog electronics to create pieces which move between the
abstract and the documentary. His work has been presented at Sonic Acts, Amsterdam;
Arsenal, Berlin; and the 2014 Whitney Biennial, among others. Sound installations
with Helen Mirra have been exhibited at the Gardner Museum in Boston, MIT List
Visual Arts Center, and in the 2012 Sao Paulo Bienal. Video with multichannel soundcollaborations include Ah humanity! (2015, with Lucien Castaing-Taylor and Véréna
Paravel) and Single Stream (2014, with Toby Lee and Pawel Wojtasik). At the Sensory
Ethnography Lab at Harvard University, he collaborated on sound for films including
The Iron Ministry, Manakamana , and Leviathan , and developed and taught a practicebased course in 'sonic ethnography.' He is currently a Visiting Scholar in the Center for
Ethnographic Media Arts at USC.

Veronika Kusumaryati is a political and media anthropologist working
in Melanesia and Southeast Asia. Her scholarship engages with the theories
and historiography of colonialism, decolonization, and postcoloniality. She iscurrently working on a book manuscript entitled “Ethnography of a Colonial

Present: History, Experience, and Political Consciousness in West Papua ,” anethnography of everyday experiences of colonialism and the making of politicalconsciousness in West Papua, a self-identifying term that refers to Papua andWest Papua provinces of Indonesia. She received my bachelor degree from the
Jakarta Institute of Arts majoring in Film and Media Studies. She is an affiliate of
the Sensory Ethnography Lab and currently Assistant Professor of Anthropology
at UW Madison.

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民 族 誌 影 展 巡 演 暨 研 習 營

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民 族 誌 影 展 巡 演 暨 研 習 營

感 謝 名 單巡 演 地 區 合 辦 單 位

牛正怡 / 王君琦 / 王雅萍 / 王寶晶 / 李佳軒 / 李岱融 / 李淑君 / 林子晴 / 林世凌 / 林宇涵 / 林欣葳 / 林浩立 / 林惠鑫 / 吳長錕 /邱韻芳 / 施永德 / 胡郁盈 / 洪櫻芬 / 施柏如 / 徐典裕 / 馬昀甄 / 張永明 / 張英彥 / 張彩儀 / 張簡琳玲 / 陳玉苹 / 陳尚懋 / 陳叔倬 /郭揚義 / 尉楷 / 黃大展 / 黃旭 / 黃國超 / 湯舒惠 / 傅可恩 / 楊翎 / 楊芬茹 / 蔡佩如 / 蔡政良 / 趙恩潔 / 廖瑋琳 / 劉子愷 / 劉紀蕙 /劉憶諄 / 劉蕙瑄 / 駱雅婷 / 羅素玫 / 羅智妃 / Baï / Skaya Siku 思嘎亞 ‧ 曦谷

育中心 / 學務處藝文中心、國立臺灣大學人類學系 / 太平洋研究中心 / 音樂學研究所、國立臺北藝術大學電影創作學系、鬧工作室、( 照筆畫順序 )■臺北： 國家教育研究、國立臺北大學通識教育中心 / 社會工作學系 / 社會學系 / USR 辦公室、國立政治大學民族學系 / 師資培
明白實驗所■桃園： 國立中央大學人文藝術中心■新竹：新竹市文化局、新竹市影像博物館、國立陽明交通大學文化研究國際中心 / 亞際文化研究國際碩士學位學程 / 台聯大系
統文化研究國際中心、國立新竹高級中學、國立清華大學人類學研究所 / 世界南島暨原住民族中心 / 原住民族學生資源中心

工 作 人 員■臺中：國立自然科學博物館、弘光科技大學通識中心、台中市文山社區大學、臺中市牛罵頭文化協進會、山腳下牛罵社通事屋、司黛蕊 影展巡演計畫主持人
黃士純 影展巡演行政統籌
吳佳娟 影展巡演國際專員 / 平面設計

清水散步、靜宜大學南島民族研究中心 / 台灣研究中心 / 原住民族文化碩士學位學程、逢甲大學人文社會學院 / 南島暨文化永續研
究中心 / 原住民族學生資源中心、臺中市立臺中第一高級中等學校■南投： 國立暨南國際大學文社原專班■臺南：曬書店主 辦 單 位■高雄：高雄市電影館、高雄醫學大學性別研究所、國立高雄科技大學藝術文化中心 / 博雅教育中心、國立中山大學社會學系 /社團法人台灣民族誌影像學會

指 導 、 贊 助 單 位

補 助 單 位

南島民族社會文化發展中心、義守大學原住民族學院

協 辦 單 位

■屏東：國立屏東大學南區區域原住民族學生資源中心、66 號工具人
■宜蘭：佛光大學■花蓮：國立東華大學族群關係與文化學系、花蓮鐵道電影院、社團法人花蓮縣牛犁社區交流協會■臺東：國立臺東大學人文學院■離島：國立澎湖科技大學通識教育中心

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