The Discovery of Subaltern: On the Green Group, Wu Yi-Feng and Shen Ko-Shang
| Autor: | Ke-Yu Shen, 沈克諭 |
|---|---|
| Rok vydání: | 2018 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 106 In this thesis, I take the discourse of new Taiwan documentary as the subject of discussion, and review the Green Group’s Anti-DuPont Movement in Lukang, Wu Yi-Feng’s Moon Children, and Shen Ko-Shang’s Silent Delta and A Rolling Stone. By reviewing these crucial events of contemporary Taiwan documentary studies, I try to figure out how the discourse constructed, functioned and its blind-spot, and thus propose a new perspective. Chapter Two uses the Green Group’s Anti-DuPont Movement in Lukang as the main subject of discussion, and explores the logic of representation of Diceng (subaltern) on visual medium. By comparing the different version of Anti-DuPont Movement in Lukang, I want to indicate how the Green Group shaped subaltern. First, by editing the image of street demonstrations and protestors in, the abstract concept Diceng can incarnate itself in those image. Additionally, by replacing locality and local knowledge with universal discourse like science and human right, thus this film constructed Taiwaneseness. And I call this process “the discovery of subaltern”. Chapter Three uses Wu Yi-Feng’s Moon Children as the main subject of discussion, and focuses on ethical and aesthetic issue of new Taiwan documentary. By comparing two different attitude toward this work—taking realism as real, or taking realism as particular way of expression, I want to bring up problematics that had been ignored in previous discussion. First, how the normalization narrative suppresses the alterity of others. Additionally, when realism became the only means of re/presenting real, facing and shooting the pain of others is an inevitable consequence. Thus, I suggest that we should seek the aesthetics besides realism as a methodology, to reconcile enlightenment role with ethical issue of new Taiwan documentary. Chapter Four uses Shen Ko-Shang’s Silent Delta and A Rolling Stone as subjects of discussion, and argue that visuality is radical and necessary in contemporary Taiwan documentary. In Silent Delta, by suspending the definite meaning, Shen forces audience to interpret this work without clear information. Therefore, when audience try to interpret it, they have to take reality as external reference, thus recognize the alterity of these isles reflexively. Then in A Rolling Stone, by separating audio and visual, Shen tries to reconcile the conflict between documentary’s enlightenment role with ethical issue. Through aesthetics, these two works are both overcoming and dealing with problematics and ethical issue that the previous documentaries can’t do. In short, by reviewing these crucial events of new Taiwan documentary studies, this thesis points out the particularity of this discourse, and how it was constructed. Thus, the universality and superiority of this discourse can be deconstructed. Furthermore, by proposing a new perspective and framework, this thesis attempt to reboot and renew Taiwan documentary studies. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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