趕在消失之前：胡台麗《穿過婆家村》的影像時間實驗與近代臺灣農村時間經驗

An Urgent Act Before Disappearing: Cinematic Experiments with Time in Hu Tai-Li’s Passing Through My Mother-in-Law’s Village and the Temporality of the Contemporary Taiwanese Agricultural Villages

作為臺灣民族誌影像的先驅，胡台麗與其作品對於影像如何再現族群文化內涵提供了諸多洞見。本文以胡台麗執導的紀錄片《穿過婆家村》（1997）為研究對象，分析此作如何揭示了臺灣典型農家因社會變遷而產生家庭結構、生活方式與生命態度等面向的經驗差異。目前針對胡台麗的作品分析多著重在其作為外來者以及導演現身影像與被攝者的互動模式上，本研究則以莫薇（Laura Mulvey）的理論進一步深化胡台麗影像研究。若以莫薇於1970年代提出的「觀看愉悅」為視角，我們探究的是胡台麗如何為了擺脫異質文化被窺視或被物化的危機，而使得其影像瀰漫層層的觀看焦慮；然而，胡台麗影像的意義並不僅止於此。她將目光投放於社會變遷下文化結構的轉變，不只勇於指出當地問題，同時，也顯現她如何作為一位思考生命形式融入影像形式的民族誌影像導演，並在影像上揭示臺灣文化內涵的歷史性斷裂問題。本文主張透過「影像時間」發掘胡台麗再現族群真實情感與在地美感的影像策略，開展對臺灣近代影像更為豐富且深刻的思辨。

Anthropologist Hu Tai-Li is a pioneering figure in Taiwan’s ethnographic filmmaking. Her work delves deeply into how images capture the authenticity of regional cultures and their cultural shifts. This article focuses on her 1997 film Passing Through My Mother-in-Law’s Village, which highlights the profound impact of social change on an ethnic community, shedding light on transformations in family structures, lifestyles, and life attitudes. While many studies on Hu’s works emphasize her position as an outsider and her interactive approach with film subjects, this article extends the discussion by engaging with Laura Mulvey’s theories. Mulvey’s proposition on the‘pleasure of looking’in the 1970s, which explores voyeurism and fetishism, is useful for analyzing the heterogeneity of regional cultures. However, Hu’s images move beyond this framework. In addressing regional culture and its shifts, Passing Through My Mother-in-Law’s Village serves as a key case, showing how Hu translates the intricacies of everyday life into cinematic language and reveals the historical ruptures within Taiwan’s cultural connotations. This article argues that, through cinematic time, Hu’s representation of regional cultures and vernacular aesthetics fosters a deeper and more enriched discourse.