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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/65286

    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
    Authors: 江沐家;Chiang,Mu-jia
    Contributors: 客家社會文化研究所
    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
    Date: 2014-08-28
    Issue Date: 2014-10-15 14:48:47 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 1988年客家還我母語大遊行後,客家族群逐漸受到社會與政府重視。客家影像出現,與台灣影像發展的脈絡密切相關,透過影像對當代客家文化的紀錄與闡述,加上大眾傳播媒體的傳播,讓更多人能夠認識客家文化,成為推廣與重塑台灣客家的重要工具。本研究透過對客家影像的分析,作為認識當代台灣客家的一個切入點,以台灣最早期開始投入客家影像創作的彭啓原導演為例,揀擇其1989—2013年的影像作品為分析對象,以了解其建構出的客家影像論述,以及與社會環境的相互影響。發現其透過實務拍攝經驗的摸索與交流,在長期與地方耆老、文史工作者與學者合作後,發展出特有具歷史意識之影像創作模式,呈現多元而豐富的台灣客家面貌,透過開墾、產業、信仰、建築等面向對各地客家庄進行深入介紹與闡述,形成空間感與時間感兼具的影像內容,為當代台灣客家留下紀錄。
    ;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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