魁北克導演西蒙・波里爾之紀錄片《米宏：域外歸返之人》研究;Étude sur Miron : un homme revenu d′en dehors du monde, l′essai documentaire québécois réalisé par Simon Beaulieu

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Title:	魁北克導演西蒙・波里爾之紀錄片《米宏：域外歸返之人》研究;Étude sur Miron : un homme revenu d′en dehors du monde, l′essai documentaire québécois réalisé par Simon Beaulieu
Authors:	郭俊逸;Kuo, Chun-Yi
Contributors:	法國語文學系
Keywords:	魁北克電影;魁北克紀錄片;文獻資料;認同;共同記憶;歷史詮釋;Québécois cinema;Québécois documentary;archives;identity;collective memory;interpretation on history
Date:	2017-01-20
Issue Date:	2017-05-05 17:18:31 (UTC+8)
Publisher:	國立中央大學
Abstract:	繼2005年的《勒曼》（Lemoyne）和2011年的《葛丹》（Godin）這兩部紀錄片後，加拿大魁北克新銳導演西蒙・波里爾（Simon Beaulieu）於2014年之作《米宏：域外歸返之人》（Miron : un homme revenu d’en dehors du monde）中，將焦點放在已故魁北克詩人加斯東・米宏（Gaston Miron，1928-1996）其人、其詩與其對社會問題之關懷和參與等問題上。生於1928年蒙特婁近郊的聖塔加特德蒙（Sainte-Agathe-des-Monts）小農村，詩人米宏家裡主要靠伐木等粗工維持生活。1947年，米宏來到蒙特婁市生活，與當時的知識份子互動熱絡。為爭取魁北克法語族群的權利，米宏除了以詩與散文作為抗爭手段，亦參與過許多街頭抗爭。在今日，詩人米宏已是魁北克歷史與文學史中是最具代表性的人物之一。有別於前兩部作品之風格，《米宏：域外歸返之人》此片其特別之處在於片中每分每秒皆由文獻影像資料（archives filmiques）所構成，包含詩人米宏的影像資料畫面、眾多魁北克紀錄片的零碎片段（extrait），與雖已錄攝但從未被使用過的畫面（chute）等等。本文一方面將回顧詩人在魁北克當代社會與文學發展之重要地位，另一方面將闡述導演波里爾針對此片所做之實踐，並從其實踐中探究《米宏》如何透過影像敘事的各種可能形式，達到回溯詩人乃至魁北克人民於二次世界大戰後至今所一同建立的集體認同之目的。此外，本文也將探究導演如何藉使用文獻此一手段來縮寫魁北克紀錄片電影史。本文第一章旨在耙梳詩人米宏之詩文與其言行對魁北克當代社會之影響，並從中導引出詩人米宏的詩集《碎嵌之人》（L’homme rapaillé）與導演波里爾的電影作品《米宏》之間的關聯性。在談論《米宏》此片之結構與特殊處理過的影像之前，我們試圖先理解導演波里爾為完成《米宏》此片所運用的剪輯理念與其實踐方式。導演在此片中藉由借用前人影像之舉（pillage），從而拼貼出當初詩人米宏活躍的年代之面貌，並以此片作為向詩人與魁北克影史先驅的致敬之作。然而，此種構組作品之方式並非導演本身憑空變造而出，究其實，借用他人影像之舉與詩人寫作策略亦有著密切的關聯，因米宏亦常透過借用其他詩人之字句、甚或是平民百姓之話語來達到以詩文體現時空背景之目的。因此本文第二章試圖剖析導演如何在《米宏》此片中以實驗性的剪輯方式來賦予文獻影像另一層意涵，我們企圖引領讀者領會在看似互不相關的連續影像背後，導演所欲呈現的個人對於文獻乃至紀錄片此電影風格本身之思索，以及何以導演自稱其作乃為詩集《碎嵌之人》的影像化改編。而若被引用的文獻影像片段能被視作為魁北克社會共同記憶之碎片，那麼觀賞《米宏》便猶如在複雜的魁北克歷史裡進行一場視覺旅程。導演波里爾透過將碎散的影像、漸強漸弱之配樂和被詩人所朗誦的詩句等三者交織成一有規律性的敘事主體。因此《米宏》不僅僅是一部有關詩人生平的電影，或其詩作《碎嵌之人》的影像化改編，亦是導演對於文獻資料重新排列乃至於魁北克歷史的重新詮釋。在此，本文第三章試圖解析影片之敘事結構，意即從不斷重複的影像、漸強漸弱的音樂之中挖掘《米宏》此片在結構上所欲象徵之意義，並嘗試對應此片的結構於魁北克人民集體認同之軌跡。除了在結構之象徵意義之外，導演波里爾透過對影像的特殊處理，例如過度曝光（solarisation）或燒燃底片（embrasement），使得《米宏》片中部分影像呈現出與原始素材截然不同的樣貌。因此在本文的最後一章將探討這些被重製過的影像在《米宏》片中所衍生的涵意與象徵。關鍵字：魁北克電影、魁北克紀錄片、文獻資料、認同、共同記憶、歷史詮釋;In 2014, the new documentary of the québécois director Simon Beaulieu, Miron : un homme revenu d’en dehors du monde, was released at the Festival Rendez-vous du cinéma québécois (RVCQ). After the documentaries Lemoyne (2005) and Godin (2011), the young director tried to focus on the figure of the québécois poet Gaston Miron (1928-1996), who often presented in the manifestations and used the poetry and prose as a mean of demonstration. Today, the master book of Miron, L’homme rapaillé, is considered a classic work of literature known as Québécois. This new film of Beaulieu is constituted only by archives, including images of the poet, images of the Quebec cinema, images that have never used by previous filmmakers. On the one hand, this thesis will analyze the role of the poet Miron in the history of Quebec. On the other hand, we try to investigate how the director Beaulieu reconstructed the trajectory of the identity quest of the people by the cinematographic language. The first chapter traces the engagement of the poet Miron in the contemporary context of the Quebec and tries to explain the relationship between the work of the poet et the film of the director. Before we analyze the structure and the special images of the film Miron, it is necessary to apprehend the reflection of the director in his work of montage. In fact, le director Beaulieu borrowed images of previous filmmakers and recomposed the image of the era of the poet. By this gesture, Beaulieu pays tribute to Miron and the precursor directors. Actually, it is the same strategy that Miron used in his writing. Thus, we will discuss the work of the montage of the film Miron in the second chapter. If the filmic extracts integrated into the film Miron can be considered as fragments of the collective memory, thus, viewing the film is like an audiovisual tour in the history of Quebec. Through the assemblage of disperse images, the music sometimes strong and loud sometimes weak and the verses hammered by the voice of the poet, the director Beaulieu weaves a narrative substance. This is why the film Miron is not precisely a film of the biography of the poet, nor a simple adaptation of L’homme rapaillé, it is also a film that presents the interpretation of Beaulieu on the archives and history of Quebec. Therefore, the third chapter concentrates on the narrative structure of the film. Moreover, through the experimentation of images, for example, the solarization, the conflagration of images, Beaulieu changes some original images to create a different look on the past of Quebec. We will then analyze the symbol and the meaning of the images reworked in the fourth chapter. Keywords : Québécois cinema, Québécois documentary, archives, identity, collective memory, interpretation on history.
Appears in Collections:	[Graduate Institute of French Language and Literature] Electronic Thesis & Dissertation

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