超紀實之眼：論張照堂1970年代的另類紀錄片

Abstract

The three documentaries of Chang Chao-tang in 1970s, Homage to Chen Da (1977), Homage to Hung Tung (1978) and The Boat-Burning Festival (1979), were conceived and filmed during the period of fierce debating on Modernism and Native Movement in Taiwan. Those films, which were produced by a photographer and had been played on television, though gaining attention for a while, were generally regarded lacking the retrospection toward self-culture in comparison with the vigorous ambition and fighting capacity prevailed in the field of fine art, such as literature, painting, and performing art, and so on, at that time, not to mention that their creative video and image experiments were totally ignored. The breaking up of Native Movement on debating with Modernism entirely excluded Chang's works, which are simultaneously combining experimental aestheticism and cultural modeling, from entering the discourse system dominated by the movement of native returning. It was in such period of time, the function and meaning of documentary in Taiwan seemed merely like a transition stage stepping toward the 1980s, of which the declaration of martial law and democratic liberty as well as bottom layer versus politician were symbolized. This study aims to reconstruct the pioneer contribution of Chang's documentary works in the realm of research and its pedigree of practice of Taiwan documentary in 1970s, and an experimental way possessed of futurism opened up by Chang as well.