再思自我再現做為培力的方法：以花蓮新移民女性紀錄影像工作坊為例

Self-Representation as a Form of Empowerment: A Documentary-making Workshop for Female Marriage Immigrants in Hualien, Taiwan

1980年代中期以降，台灣出現了大規模的跨國婚姻移民現象。因婚姻來台定居的新移民女性，往往被主流媒體視為社會問題而承受了汙名和偏見，除了以新移民女性為題材的社會議題紀錄片企圖扭轉之外，也有許多讓新移民女性拿起攝影機的影像培力工作坊出現。本文指出，讓新移民女性拿起攝影機再現其社群的作品，在觀點上不必然會挑戰或批判主流意識形態，故不應以此做為影像培力的目的和宗旨。本文以筆者所參與的花蓮新移民女性影像工作坊為例指出，專長培力者必須慎思影像培力的倫理課題，才能在過程中拋下專業權威主義，讓新移民女性在處理自我再現時擁有選擇權與能動性。影像培力的意義在於讓參與的新移民女性發展與發揮一直以來被生活現實與社會期待壓縮的感知、想像、見解、情感等能力，同時在參與者之間形成情感與生活的支持系統。而在作品完成後，可以藉由影像作品的高文化位階取得發言權，更直接地參與有關新移民女性的論述。 Since the mid-1980s, there has been a trend towards transnational marriage of Taiwanese men with women from Mainland China and Southeast Asian countries. These female marriage immigrants, however, have long been stigmatized and stereotyped in the mainstream media. There have been a small number of social documentaries made by Taiwanese filmmakers that provide counter-stereotypical representations of the female marriage immigrants. In addition to that, handing control of the camera over to the women themselves has been considered another solution to counter mainstream bias. In light of this, there have been quite a few documentary-making workshops in both the public and private sectors offered to these women. This article begins with an examination of several social documentaries on female marriage immigrants, to argue that self-representation does not guarantee opposition to the mainstream ideal of assimilation or Taiwanization. Any attempt to indoctrinate the participating female marriage immigrants to produce anti-mainstream content, despite the good intentions of the workshops' operators, can be a violation of ethical boundaries. In this paper I reflect upon my own experience as a facilitator in a documentary-making workshop that aims to empower female marriage immigrants in Hualien. I argue that the significance of this form of empowerment is two-fold: first, it allows female marriage immigrants to develop and display certain capabilities that have long been suppressed and undervalued. Second, creating a self-representation in the form of a documentary film allows the women to gain cultural capital with which to negotiate the social and cultural discourses in their families and in the society around them.

Since the mid-1980s, there has been a trend towards transnational marriage of Taiwanese men with women from Mainland China and Southeast Asian countries. These female marriage immigrants, however, have long been stigmatized and stereotyped in the mainstream media. There have been a small number of social documentaries made by Taiwanese filmmakers that provide counter-stereotypical representations of the female marriage immigrants. In addition to that, handing control of the camera over to the women themselves has been considered another solution to counter mainstream bias. In light of this, there have been quite a few documentary-making workshops in both the public and private sectors offered to these women. This article begins with an examination of several social documentaries on female marriage immigrants, to argue that self-representation does not guarantee opposition to the mainstream ideal of assimilation or Taiwanization. Any attempt to indoctrinate the participating female marriage immigrants to produce anti-mainstream content, despite the good intentions of the workshops' operators, can be a violation of ethical boundaries. In this paper I reflect upon my own experience as a facilitator in a documentary-making workshop that aims to empower female marriage immigrants in Hualien. I argue that the significance of this form of empowerment is two-fold: first, it allows female marriage immigrants to develop and display certain capabilities that have long been suppressed and undervalued. Second, creating a self-representation in the form of a documentary film allows the women to gain cultural capital with which to negotiate the social and cultural discourses in their families and in the society around them.