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題名 懸置的影像：自然類紀錄片中的沉思風格——以《海》為例
The Suspensive Image: Contemplative Style in Ocean and other Nature Documentaries
作者 胡超
Hu, Chao
貢獻者 林玲遠
Lin, Ling-Yuan
胡超
Hu, Chao
關鍵詞 自然紀錄片
懸置
海洋
影像
書寫
洪席耶
沉思
nature documentary
contemplation
suspension
image
ocean
writing
Jacques Rancière
日期 2022
上傳時間 1-Aug-2022 18:17:31 (UTC+8)
摘要 本研究是對自然類紀錄片中的各類可見性之體制和影像在其中的運作模式的觀察。本文爬梳並反思了不同文化脈絡下有關沉思的理念與實踐，特別是沉思這一概念在電影影像實踐中的一些特定表現，如生態電影和慢電影在其風格選擇上的考量。本研究從洪席耶的「影像-句」概念出發，探索並示範了一種沉思風格，意圖尋找、想像和喚起人類社會與自然世界的不同連結和關係的可能性，以及影像在其間所扮演的角色。這一沉思風格特指影像的一種懸置運作，一種間斷與連續之間的懸置互動，是對不同的製作方式、存有模式與可見形式的探尋與實踐。沉思風格的安排方式重視異質元素的共存狀態。本文以由柯金源導演、台灣公共電視台在2016年製作發行的紀錄片作品《海》為例，展開論述這一沉思風格與懸置運作的具體表現形式。本研究認為《海》呈現了紀錄片實踐的不同樣貌與可能性，影片的非人類中心的出發點不僅體現在其主題的選擇與表達，更是關於藝術家意志與自然影像之間的互動關係的重構。通過編織來自海洋場域和不同社會脈絡的文學和影像文本，本文實驗了一種影像書寫與分析方式，這一書寫本身即可被視為是沉思風格與懸置運作的一次展演。
This thesis looks into different regimes of visibility and operations of image in nature documentaries. It reflects on the conception and practices of contemplation in different cultural contexts, and its link with certain cinematic practices, such as ecocinema and slow cinema’s stylistic choices. Drawing on Jacques Rancière’s concept of the sentence-image, this research explores and demonstrates what I call a contemplative style, in search for the possibility of contemplation that envisions and evokes a form of relationship with the natural world, and the role of image through its operations in constituting the possibility of this relationship. The contemplative style suggests a form of suspensive operation of the image, which offers to enact alternative ways of doing and making, modes of being and forms of visibility. This contemplative arrangement emphasizes the co-presence of heterogeneous elements. It carves out the potentialities and power of the interval, engaged in a suspensive interaction with the power of continuity. This is further illustrated in a close study of Ke Chin-yuan’s Ocean, a documentary project produced in 2016 by Taiwan’s Public Television Service. This thesis argues that Ocean challenges a convention of documentary practices, and marks a different turn to the nonhuman in the history of Taiwan’s ecodocumentary. This turn is understood from its refashioning of the interaction between the artistic will and the natural image. This thesis also looks into Taiwan’s nature writing and ocean literature in view of a shared social backdrop, and the languages and textures cultivated by the oceanic milieu. Interweaving texts from different social contexts, this thesis experiments possible ways of writing about and with the documentary image. The writing of this thesis, in this sense, is itself a contemplative performance and a demonstration of the suspensive operations.
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描述 碩士
國立政治大學
國際傳播英語碩士學位學程(IMICS)
108461023
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0108461023
資料類型 thesis
dc.contributor.advisor 林玲遠zh_TW
dc.contributor.advisor Lin, Ling-Yuanen_US
dc.contributor.author (Authors) 胡超zh_TW
dc.contributor.author (Authors) Hu, Chaoen_US
dc.creator (作者) 胡超zh_TW
dc.creator (作者) Hu, Chaoen_US
dc.date (日期) 2022en_US
dc.date.accessioned 1-Aug-2022 18:17:31 (UTC+8)-
dc.date.available 1-Aug-2022 18:17:31 (UTC+8)-
dc.date.issued (上傳時間) 1-Aug-2022 18:17:31 (UTC+8)-
dc.identifier (Other Identifiers) G0108461023en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/141203-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 國際傳播英語碩士學位學程(IMICS)zh_TW
dc.description (描述) 108461023zh_TW
dc.description.abstract (摘要) 本研究是對自然類紀錄片中的各類可見性之體制和影像在其中的運作模式的觀察。本文爬梳並反思了不同文化脈絡下有關沉思的理念與實踐，特別是沉思這一概念在電影影像實踐中的一些特定表現，如生態電影和慢電影在其風格選擇上的考量。本研究從洪席耶的「影像-句」概念出發，探索並示範了一種沉思風格，意圖尋找、想像和喚起人類社會與自然世界的不同連結和關係的可能性，以及影像在其間所扮演的角色。這一沉思風格特指影像的一種懸置運作，一種間斷與連續之間的懸置互動，是對不同的製作方式、存有模式與可見形式的探尋與實踐。沉思風格的安排方式重視異質元素的共存狀態。本文以由柯金源導演、台灣公共電視台在2016年製作發行的紀錄片作品《海》為例，展開論述這一沉思風格與懸置運作的具體表現形式。本研究認為《海》呈現了紀錄片實踐的不同樣貌與可能性，影片的非人類中心的出發點不僅體現在其主題的選擇與表達，更是關於藝術家意志與自然影像之間的互動關係的重構。通過編織來自海洋場域和不同社會脈絡的文學和影像文本，本文實驗了一種影像書寫與分析方式，這一書寫本身即可被視為是沉思風格與懸置運作的一次展演。zh_TW
dc.description.abstract (摘要) This thesis looks into different regimes of visibility and operations of image in nature documentaries. It reflects on the conception and practices of contemplation in different cultural contexts, and its link with certain cinematic practices, such as ecocinema and slow cinema’s stylistic choices. Drawing on Jacques Rancière’s concept of the sentence-image, this research explores and demonstrates what I call a contemplative style, in search for the possibility of contemplation that envisions and evokes a form of relationship with the natural world, and the role of image through its operations in constituting the possibility of this relationship. The contemplative style suggests a form of suspensive operation of the image, which offers to enact alternative ways of doing and making, modes of being and forms of visibility. This contemplative arrangement emphasizes the co-presence of heterogeneous elements. It carves out the potentialities and power of the interval, engaged in a suspensive interaction with the power of continuity. This is further illustrated in a close study of Ke Chin-yuan’s Ocean, a documentary project produced in 2016 by Taiwan’s Public Television Service. This thesis argues that Ocean challenges a convention of documentary practices, and marks a different turn to the nonhuman in the history of Taiwan’s ecodocumentary. This turn is understood from its refashioning of the interaction between the artistic will and the natural image. This thesis also looks into Taiwan’s nature writing and ocean literature in view of a shared social backdrop, and the languages and textures cultivated by the oceanic milieu. Interweaving texts from different social contexts, this thesis experiments possible ways of writing about and with the documentary image. The writing of this thesis, in this sense, is itself a contemplative performance and a demonstration of the suspensive operations.en_US
dc.description.tableofcontents Acknowledgement i
Abstract ii
摘要 iii
Table of Contents iv
1. Introduction 1
2. Literature Review 5
2.1 Nature Documentary and Its Discontents 5
2.2 The Techniques of Contemplation 10
2.3 Variations of Cinematic Contemplation 15
3. Contemplative Style In Ocean 19
3.1 “New Documentary” in Taiwan 19
3.2 Ocean: Images in Suspension 22
3.2.1 The Ship and the Shore 24
3.2.2 The Intertidal Zone 28
3.2.3 A Realm Without Doors 33
3.2.4 Between the Images 37
4. Conclusion 42
References 47		zh_TW
dc.format.extent 543118 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0108461023en_US
dc.subject (關鍵詞) 自然紀錄片zh_TW
dc.subject (關鍵詞) 懸置zh_TW
dc.subject (關鍵詞) 海洋zh_TW
dc.subject (關鍵詞) 影像zh_TW
dc.subject (關鍵詞) 書寫zh_TW
dc.subject (關鍵詞) 洪席耶zh_TW
dc.subject (關鍵詞) 沉思zh_TW
dc.subject (關鍵詞) nature documentaryen_US
dc.subject (關鍵詞) contemplationen_US
dc.subject (關鍵詞) suspensionen_US
dc.subject (關鍵詞) imageen_US
dc.subject (關鍵詞) oceanen_US
dc.subject (關鍵詞) writingen_US
dc.subject (關鍵詞) Jacques Rancièreen_US
dc.title (題名) 懸置的影像：自然類紀錄片中的沉思風格——以《海》為例zh_TW
dc.title (題名) The Suspensive Image: Contemplative Style in Ocean and other Nature Documentariesen_US
dc.type (資料類型) thesisen_US
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dc.identifier.doi (DOI) 10.6814/NCCU202200844en_US