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|Title: ||戰後台灣的客家影像論述— 以彭啓原作品為分析場域;A Discussion on Hakka Image of Postwar Taiwan— Take PENG,CHI-YUAN’s works as examples|
|Keywords: ||客家影像;紀錄片;大眾史學;影視史學;影像人才培育;Hakka Image;documentary;public history;historiophoty;personnel training of image|
|Issue Date: ||2014-10-15 14:48:47 (UTC+8)|
;The development of Hakka always interacts with other ethnic and is connected with political situation. Government and public have paid attention to Hakka since 1988, in which Restoring Mother Tongue Movement took place. That Hakka image turns up is related to the development of Taiwan image. Hakka can be known by much more people through video records of Hakka contemporary culture; otherwise with the spread of mass media, image becomes a significant material for promoting and reshaping the imagery of Taiwan Hakka.
PENG, CHI-YUAN is the first director using video records to take down the culture of Taiwan Hakka in 1989, and his works include “Hakka Landscape(Three seasons,1990-1993)”, “Hakka Climate ambition (1996)”, “Hakka Village (1997)”, “Little Hakka Village’s Story -Industry(1997)”, “Taipei The New Hometown (1999)”, “Taiwan’s Hakka People(1999)” ,“Hakka Field Trip (2005)”,“Lesson VII forever (2013)”,etc. The thesis deals with the image analysis of documentary films directed by him from 1989 to 2013 in order to recognize the discussion on Hakka image and the concern of social circumstance.
Through the long-term cooperation with local elders, historians and scholars, PENG, CHI-YUAN has his own historical consciousness of image-creation mode which is able to show diverse and abundant aspects of Taiwan Hakka; moreover, with the deep introduction and description of reclaiming, industry, religion and architecture in Hakka villages, the documentary films both have impression of time and space leaving a record for Hakka contemporary culture.
PENG, CHI-YUAN has devoted to personnel training as well as helped some college students learn how to make documentary films since 2003. After contacting with public history and historiophoty, he has a viewpoint of “everyone can write down history with shots” and engages in the projects community interaction, image-creation learning for the sake of assisting more people to record local history with camera lens.
|Appears in Collections:||[客家社會文化研究所] 博碩士論文|
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