木神、火神、Sakizayaa：影像再現的歷史與認同

Tree God, Fire God, and Sakizaya: History and Identity of Image Representation

本文將以《家園的重現──Sakizaya》、《sakul：茄冬樹》、以及。《Sakizaya Palamal》等三部紀錄片做為主要的分析對象，這三部紀錄片皆是以Sakizaya族的傳統祭典做為主要的拍攝對象，而且這三部影片中共同出現的主題包括了，一、火神祭的由來；此一祭典是創造或是傳統的延續。二、Sakizaya族群認同的困境。三、傳統儀式與認同的關係等。撒奇萊雅族在2007年正名成功之後面臨其內部與阿美族族群邊界模糊，及外部社會對其感到陌生等認同上的面境，本文試圖藉由上述的三部紀錄片來討論，此三部紀錄片的導演如何以紀錄片再現這些困境並找到改變困境的可能。

This article uses three documentaries of traditional ritual, such as “Representation of Homeland--Sakizaya” as the object of analysis. The common themes of these three documentaries include the origin of the fire god ritual, the dilemma of the Sakizaya ethnic group identity, and the traditional ritual and identity relationship. This article discusses how to represent and change these dilemmas with documentaries.