社區影像的論述形構：以台南市「家鄉紀錄手」作品為例

The Discursive Formation of Community Video: the Works of ''TAINAN DOCUMENTARY'' as an Example

社區影像在台灣的發展是以參與式影像的概念為基礎，意即以民眾作為影像生產的主體，進而避免由上而下的媒體霸權忽視在地民眾發聲權益。有別於自媒體的形成，社區影像的生產往往是經完整培訓與團體動力產生，因而通常更具「系統性」。台南的「家鄉紀錄手」自2011年開辦以來，已成為台南市民創作的標誌性社區影像生產場域。十年來不間斷地累積約120部紀錄片作品，其作品雖然因完整性而得到認同，卻也伴隨著系統性而導致規範化的疑慮－－可能使在社區影像場域的生產者自我內化成規範。因此筆者借用傅科論述形構的架構，探索在家鄉紀錄手歷年（2011-2000）社區影像文本之中是否產生了某種無形的管制？並從文本中窺見打破規則的潛力。

Community image in Taiwan is derived from the concept of participatory video, of which the core of the creation is the local populace, so that their right of being heard would not be overlooked by the top-down media hegemony. Unlike self-media, the formation of community images is often a result of integrated training and group dynamics which usually tends to be more“systematic”.“TAINAN DOCUMENTARY'' has become an icon of community image creation for Tainan citizens since its inception in 2011. About 120 documentary works have been produced over the past 10 years. Despite the acknowledgement of being whole, there are concerns about the works being standardized in the process of systematizing - would the practitioners set boundaries to themselves unconsciously?
The author borrows the structure of Foucault's discursive formation to examine whether there is some kind of hidden restraint in the text of the community images of“TAINAN DOCUMENTARY”(2011-2000), also to explore the potential for breaking the rules throughout the text.