獨白或對話：影像檔案操作策略下個人記憶與集體記憶的辯證

Monologue or Dialogue : The Debate over Personal and Collective Memories in Visual Archives

影像檔案生產當初乃為某種目的，必然存在其不可磨滅的個別記憶，且有些經由媒體的傳播為整個世代分享而具有集體記憶的價值。因此，紀錄片不能隨意創造過去，卻因使用影像檔案因禍得福增加自身的歷史縱深和豐富的記憶面向。本文藉由分析兩部紀錄片：戴維斯（Terence Davies）的《城市流光》（Of Time and the City, 2008）及鄭明河（Trinh T. Minh-ha）的《姓越名南》（Surname Viet Given Name Nam, 1989）探討影像檔案操作策略背後影片導演的意圖、慾望與所形塑的認同模式，並探究：（1）影像檔案操作策略如何受制於導演自身的美學品味和政治意識型態。（2）個人記憶如何與影像檔案所代表的集體記憶互動產生對話。（3）少數族裔紀錄片導演又是如何將充斥著集體記憶的影像檔案透過拍攝策略和修辭模式轉化為個人記憶或族裔歷史，為其發聲，展現該族群的意識。

Visual archives were born to serve certain purposes, and inevitably bear the valuable recollections of particular individuals. By way of media's broadcast, some visual archives have become the collective memories of whole generations. The use of visual archives has enriched the content of many documentaries, giving them deeper historical values with poignant individual recollections. In this article, I take an analytical look at two documentaries Of Time and the City (2008) by Terence Davies and Surname Viet Given Name Nam (1989) by Trinh T. Minh-ha. I discuss visual archives' manipulations in documentaries and try to explore the following issues: (1)In the process of manipulation of visual archives, how will a filmmaker be restrained by his/her aesthetics and ideologies? (2)How will the filmmaker's personal recollections interact with the collective memories presented in the documentaries through visual archives? Or will the filmmaker's personal recollections muzzle the collective social memories and turn the documentary into a monologue? (3)Will it lead to enabling the people to make their documentaries as decentralizing the power and speaking for themselves?