張照堂1970年代的三部紀錄片，從《紀念‧陳達》（1977）、《再見‧洪通》（1978）到《王船祭典》（1979），構思並拍攝於現代主義與鄉土運動論戰的激烈時期。這些產製於攝影家之手並在電視臺播放的影片，雖引發關注，但相較於當時藝術領域（文學、繪畫、表演藝術等）的旺盛企圖心與戰鬥力，其自我文化的省悟普遍被認為是匱乏的，且其極具創造性的音像實驗更是被忽略。由於鄉土論戰和現代主義劃清界線，讓張氏同時結合實驗美學與文化造型向度的作品無法全然進入以回歸鄉土為主導的論述體系。與此同時，這一時期的紀錄片之功能與意義，僅猶似一段邁向象徵解嚴與民主自由、底層性與政治性的1980年代之過渡階段，其主體意義尚未被具體彰顯。本文擬重構張照堂1970年代的紀實作品在臺灣紀錄片研究與實踐系譜的先驅性貢獻，以及由他所開闢出的一個深具未來性的實驗之道。
張照堂、臺灣紀錄片、另類紀錄片、《紀念．陳達》、《再見．洪通》、《王船祭典》
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.
Chang Chao-tang, Taiwan documentary, alternative documentary, Homage to Chen-Da, Homage to Hung-Tung, The Boat-Burning Festival
