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Item 台灣電影數位典藏及推廣計畫（98年度）(2009/01-2009/12) 李天石養; 李道明; 陳昭珍; 盧非易本計畫為配合拓展台灣數位典藏計畫之執行，2007年工作將行政院新聞局轄管之台灣電影文化公司新聞片，進行資料整理與影片數位化工作，建立電影資料庫，供使用者利用網站進行瀏覽、檢索、搜尋與其他加值利用；並藉此建立台灣電影數位化作業流程及相關作業規範，累積電影數位化實務經驗，俾作為未來建立電影數位化中心之基礎。選擇台影新聞影片之理由，乃因其為台灣史實影像資料中最為重要之部分，而1945－1962年台影新聞片更為台灣電視新聞出現前，唯一現存之主要新聞影像紀錄，具歷史珍罕資料價值。台影新聞影片除記錄台灣這片土地的發展過程以及人民的生活外，更見證了「台灣經濟與政治奇蹟」的點點滴滴，是台灣發展軌跡中最精彩的動態影像紀錄。前揭資料因年代久遠、瀕臨酸化毀壞，因此亟需優先進行數位典藏。 未來五年計劃預計達成： 一、 建立電影數位化作業標準流程及工作手冊 二、 台灣電影資料數位化 三、 建立台灣電影影片資料庫暨網站 四、 培訓電影數位化人才 五、 成立電影數位典藏中心Item Witness and Recuperation: Cambodia's New Documentary Cinema(英語學系, 2013-03-??) Annette HamiltonThe documentary cinema of Rithy Panh has played a significant role in the effort to overcome the traumatic heritage of the Khmer Rouge era in Cambodia (1975-79). His cinema of witness advances claims for the restoration of memory as an ethical imperative, and his films have provided encouragement for the claims of justice for survivors. Witness and reenactment are central to his mode of address. A new movement has emerged in recent years from a younger generation whose work continues to explore the value of documentary in challenging the prevailing cultural amnesia and seeks to recuperate the connection between the present and the past. This paper discusses the work of some of the emerging documentary makers, highlighting their distinctive voices and visions, their debt to the style and framework of Rithy Panh's cinema, as well as new perspectives which seek to build on the past through the exploration of the value of the artists and intellectuals who preceded them.Item Confronting the Real, Construing Reality: Artistic Vision and Gaze in Jia Zhangke's "24 City"(英語學系, 2013-03-??) Chialan Sharon WangThis study thinks through the relationship between documentary and truth in Jia Zhangke's "24 City". Taking into consideration Jia's body of work, it examines the dichotomy between the documentarian and the filmed subjects. The essay argues that, different from Jia's previous works, "24 City" orchestrates a national narrative that remembers, glorifies, and closes off the past. However, there are also moments in the film that reveal a contesting power dynamic between the documentarian and the interviewees in the film. What is revealed in "24 City", therefore, is the inseparability of truth and lies collaborated among the filmmaker, the filmed subjects, and very possibly the target audiences.Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.Item 台灣電影數位典藏及推廣計畫（99年度）(2010/01-2010/12) 李天石養; 李道明; 陳昭珍; 盧非易本計畫為配合拓展台灣數位典藏計畫之執行，2007年工作將行政院新聞局轄管之台灣電影文化公司新聞片，進行資料整理與影片數位化工作，建立電影資料庫，供使用者利用網站進行瀏覽、檢索、搜尋與其他加值利用；並藉此建立台灣電影數位化作業流程及相關作業規範，累積電影數位化實務經驗，俾作為未來建立電影數位化中心之基礎。選擇台影新聞影片之理由，乃因其為台灣史實影像資料中最為重要之部分，而1945－1962年台影新聞片更為台灣電視新聞出現前，唯一現存之主要新聞影像紀錄，具歷史珍罕資料價值。台影新聞影片除記錄台灣這片土地的發展過程以及人民的生活外，更見證了「台灣經濟與政治奇蹟」的點點滴滴，是台灣發展軌跡中最精彩的動態影像紀錄。前揭資料因年代久遠、瀕臨酸化毀壞，因此亟需優先進行數位典藏。 未來五年計劃預計達成：一、建立電影數位化作業標準流程及工作手冊.二、台灣電影資料數位化.三、 建立台灣電影影片資料庫暨網站.四、培訓電影數位化人才.五、成立電影數位典藏中心Item 台灣電影數位典藏及推廣計畫（97年度）(2008/01-2008/12) 李天？; 陳昭珍; 盧非易; 李道明「台灣電影數位典藏及推廣計畫」旨在建立台灣電影的永續典藏與應用，透過數位化，建立電影數位典藏之標準作業流程及技術規範，設置電影典藏資料庫網站及舉辦訓練與學術活動以進行電影典藏資料庫之推廣與應用。98年度工作將繼續進行台灣電影與相關文物之數位化工作，增加500小時的數位影音資料及20,000筆圖文資料，進行資料庫內容深化研究，主題規劃，於網站上提供新增影片、後設資料，以及文物圖片供參，及網站維運行銷，舉辦數位影展、實體文物展，並以全國各大學相關系所教師及中小學教師為對象，舉辦電影數位學習與應用工作坊及國際研討會，使師生能透過數位學習參與，關注台灣數位典藏工作，進而推廣至學術研究，教學內容，使全民共享電影數位化成果。 在經費規劃方面，將延續97年所建立之「電影數位化中心」所需維運之設備、場地、人員，整理、複製、製作中間片，數位化，印製拷貝及維護資訊系統之資料庫、網站等費用原為29,908千元，初審經費核定後，修正為28,547千元；採購影片整理與數位化之相關設備器材原規劃約6,000千元，用於網站、典藏系統維護，增購儲存硬碟及程式與資料異地備份等，修正經費為3,000千元。Item 台灣電影數位典藏及推廣計畫(2011/01-2011/12) 張靚蓓; 李天石養; 李道明; 陳昭珍; 盧非易「台灣電影數位典藏及推廣計畫」旨在透過數位化進行台灣電影的永續典藏與應用，規畫電影之典藏政策、建立數位化標準作業流程及技術規範，和設置電影典藏資料庫及網站。本計畫將應用本館所典藏之電影文物和數位化產生之資料、素材，不定期舉辦各項推廣電影藝術性及技術性之相關訓練工作坊與學術會議或論壇、影展、國際研討會等等活動。本計畫100年度將繼續進行台灣電影與相關文物之數位化工作，增加500小時的數位影音資料及20,000筆圖文資料，舉辦電影文物數位典藏學習與應用工作坊。在永續經營的規劃方面，將落實本館之深耕工程─培育專業典藏管理人才、制訂及執行典藏管理政策、有效運用典藏管理技術、完備文物資訊管理系統、打造節能之文物保存安全庫房、進行實體藏品全面數位化、執行重要影片數位修復、落實數位加值之應用與營運、規劃及推動法定典藏政策、爭取建置可供展示與教育的場所等十項工作；並藉由典藏品之清查工作，繼續進行數位化內容權利的盤點工作，確認版權所有者及權利使用範圍，便於商業推展，及找尋商業發行管道，將典藏品加值應用，達成典藏品活化與再生的目標。Item Re-imagining the Nonfiction Criminal Narrative(英語學系, 2012-03-??) Kristen FuhsTaking a close look at Emile de Antonio’s In the King of Prussia (1982) and Lynn Hershman Leeson’s Strange Culture (2007), this article explores how a defendant’s participation in a documentary reenactment of his or her alleged crime or criminal trial can complicate our reading of a case’s social and cultural history. As both a literary and performative technique, reenactment is especially well suited to documentary investigations of true crime and legal subjects. The legal trial is already, in a sense, a conjectural reenactment of a historical event, and the true crime genre is itself about fostering a return to the scene of the crime through its recreation and representation. This article focuses on documentaries in which subjects who have been accused of crimes against the state collaboratively reenact elements of their cases outside of (and notably separate from) the institutions that traditionally officiate legal speech. In the King of Prussia and Strange Culture use reenactments to help their subjects recover justice in situations where the law has failed to produce it. Both films highlight ways in which subjects who are caught up in the disciplinary power of the law must use alternative means in order to reassert their own subjectivity and reclaim a sense of agency over their own representations. Documentary becomes a space for these men and women, criminalized for their political beliefs and activist behavior, to challenge law’s power and reconstitute themselves as social subjects.