「面向臺灣」的影像生產：阮金紅新移民紀錄片的母國觀點與雙向對話錄

Toward Taiwan: Viewpoint of Homeland and Two-way Communication in Nguyen Kim Hong's Documentary Filmmaking on Southeast Asian Immigrants

本文探究東南亞新移民紀錄片的敘事策略，以越南裔新移民女性導演阮金紅的影像作品為研究材料，析論其族裔與性別身分如何影響紀錄片創作。首先，「母國觀點」的挪用，尤其是在臺灣與原生國越南之間的往返，所拍攝與訪談取得的影像，經過剪輯之後所呈現的觀點。被攝者母國親友的訪談作為另一種參照的視角，以越南語進行，大量剪輯在紀錄片中其意義為何。其次，導演致力於拍攝新移民女性的相關題材，揭露在主流媒體中少見的困境，紀錄片作為再現相對真實的媒介，東南亞新移民的紀錄影像具有何種社會功用。本文主要從「拍什麼」、「如何拍」與「拍給誰看」等三大議題的探問，指出新移民紀錄片作為母國與臺灣之間相互觀看與交流的媒介，使新移民創作者能夠建立在臺灣文化生產場域的發言位置，更重要的是讓新移民取得自我詮釋權，進一步藉由「面向臺灣」的影像生產促進新移民與移居國之間對話的可能性。

This paper explores the narrative strategy of documentary filmmaking on Southeast Asian immigrants in Taiwan with a focus on Nguyen Kim Hong's cinematic works to tease out how ethnic and gender identities have influenced her filmmaking. The first strategy is to adopt the viewpoint of homeland through traveling and filming the host state Taiwan and the homeland Vietnam. By interviewing relatives in the homeland in Vietnamese language, what sorts of implications does the specific viewpoint carry? Secondly, what sorts of social functions have these documentaries embodied by revealing migrant women's challenges in Taiwan? This paper mainly focuses on three aspects of documentary filmmaking: what to film, how to film and film for what, and demonstrates that these documentaries contribute to new immigrants' visibility and self-positioning in the contemporary cultural field as an approach for two-way communication between local Taiwanese and immigrants. More importantly, it proposes that migrant women have been retrieving the authority of speaking for themselves, and these documentaries engender the possibility of interaction between the host state and the homeland.