台灣關於非劇情片與原住民之關係已多所討論，但對於 1945 年至 1983 年之間「台影」新聞片所再現的「山胞」，相 關的討論、研究與反省則較為忽略。因此，本文以「台影」新 聞片的「國內版」為對象，檢視「山胞」的意象所出現的數 量、類型與詮釋之方式。針對「台影」新聞片所再現的「山 胞」，我們指出包括主體的缺席、線性的進化、需要被現代化 的原始、歌舞服裝作為社會皮膚、觀看的客體等等特點。最 後，本文企圖從視覺政體的觀點出發，探討「台影」作為冷戰 時期觀看社會的主要管道（「冷戰之眼」），如何透過新聞片 的再現，進行「山胞」意象的社會建構，藉此提供一個批判性 的分析。

Many researchers have investigated representations of aborigines in Taiwanese non-fiction film, but few have focused on Taiwan Film Culture Company newsreels from 1945 to 1983. This paper uses methods of content, frame, and narrative analysis to explore the frequency of appearance, categories, naming, and portrayals of aborigines under scopic regime of cold war eyes. The results show that Taiwanese aborigines are mostly represented without acknowledging their diversity and multiculturalism. Aborigines are interpreted on an evolutionism usually represented as primitives requiring modernization. Although aborigines are usually portrayed as primitives requiring modernization, this primitiveness is not abandoned. Aboriginal dances and clothes are treated as another type of social skin used in nationalism and tourism performances. Based on lines of sight, aborigines in the newsreels also are usually objects to be looked at. Thus, reading aborigines in Taiwan Film Culture Company newsreels manifests the meanings of de-colonization. This paper emphasizes the importance of making aborigines visible in mainstream media.

「山胞」;「台影」新聞片;非劇情片;視覺政體

Aborigines; Non-fiction film; Newsreel; Scopic Regime; Taiwan Film Culture Company