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| 在現場，正發聲： 你哥影視社「移工三部曲」的聲音構造與反身實作 |
| On the Spot, On Speaking: The Sonic Construction and Reflexive Practice in Your Bros. Filmmaking Group’s “Migrant Worker Trilogy” |
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| 作者 |
謝欣芩 |
| Author |
Hsin-Chin HSIEH |
| 關鍵詞 |
你哥影視社、
移工、
紀錄片、
發聲、
現場、
表演
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| Keywords |
Your Bros. Filmmaking Group,
migrant worker,
documentary,
speaking,
on-the-spot,
performance
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| 摘要 |
東南亞移工是21世紀台灣紀錄片的重要主題，隨著台灣社會與地緣政治的發展，移工紀錄片緊繫相關議題而轉變，藉助紀錄片的政治性和社會功能，影像工作者嘗試透過紀錄片倡議或者將移工生命經驗影像化。本文將你哥影視社的「移工三部曲」視為反身實作的影像行動，闡述以工作坊為模式，創作過程如何製造現場與聲音，反思移工發聲的倫理。聚焦三部紀錄長片《工寮》（2019）、《宿舍》（2021）和《公園》（2024），思索移工紀錄片的發聲方法和觀點建立，使用大量表演與述說之餘，如何重構現場讓移工議題在此跨域的共作過程再生，而此種創作模式在紀錄片完成後又如何讓觀眾察覺其中的真實性、反身性與再現政治。本文將以「移工三部曲」分別探討三種不同的空間與聲音組配：（一）重演：聚焦「現場」的空間設計、新聞事件的重演、攝影機運動以及字幕翻譯，闡釋紀錄片講述與重演的功用與限制；（二）排練：工作坊讓議題透過討論與實作具象化，將行動劇的排練和宿舍內的溝通與衝突以紀錄片敘事化，探索戲劇表演與移工抗爭的複數方法及其效果；（三）轉譯：從留學生書寫／發聲與台灣影像工作者的雙重代言，以及詩、聲音和視覺影像的跨媒介實驗，思索代言是否能成為移工發聲的途徑。本文認為你哥影視社的紀錄片創作不僅延續「和他們一起說話」的倫理行動，將「發聲」問題化，辯證紀錄片的「真實」，同時創新移工紀錄片的美學策略，讓移工故事得以在跨國和跨文化共創中現身與現聲。 |
| Abstract |
Southeast Asian migrant workers have become a central subject in twenty-first-century Taiwanese documentary filmmaking. As Taiwan’s social contexts and geopolitics evolve in the midst of greater global mobility, documentaries featuring migrant workers have undergone substantial transformation, reflecting shifting understandings of transnational labor, citizenship, and belonging. Drawing upon the political agency and social function inherent in the documentary form, filmmakers have sought not only to advocate for migrant rights but also to visualize the complexities of migrant workers’ lived experiences through experimental cinematic language. This article conceptualizes Your Bros. Filmmaking Group’s “Migrant Worker Trilogy” as a reflexive filmmaking practice that redefines both the aesthetic and ethical dimensions of collaborative filmmaking. It argues that the group’s workshop-based mode of production, situated within migrant communities and sustained through dialogic encounters, creates new “on-the-spot” spaces of articulation in which migrant workers’ voices can be produced, shared, and re-heard, while critically interrogating the ethics of representation.
Focusing on the three feature-length documentaries Gubuk (Hut) (2019), Ký Túc Xá (Dorm) (2021), and Taman-Taman (Park) (2024), this study investigates how the trilogy mobilizes sound, performance, and spatial design to reconstruct the notion of the “site” as both a filming location and a discursive locus. Through extensive use of reenactment, performance, and collective narration, the films transform the documentary field into an evolving workshop space that enables transnational collaboration among migrant workers, students, and Taiwanese filmmakers. The article further examines how such collaborative practices invite the audience to re-evaluate questions of authenticity, reflexivity, and the politics of representation, asking what it means to speak “on the spot” and “on speaking” within the framework of post-cinematic activism.
The analysis proceeds through three conceptual configurations of space and sound.
(1) “Reenactment:” This section explores how Gubuk (Hut) stages multiple registers of testimony through spatial composition, camera movement, and subtitling. By restaging news events and everyday labor scenes, the film oscillates between collective storytelling and individual experience, revealing both the potentials and the constraints of reenactment as a mode of witnessing. (2) “Rehearsal:” This section turns to Ký Túc Xá (Dorm) and its workshop-based process, in which the group organizes participatory discussions, theatre rehearsals, and performative actions within dormitory spaces. Here, the boundaries between rehearsal and reality collapse, transforming the dorm itself into a performative arena where communication, conflict, and negotiation become aesthetic and political gestures. The film thus foregrounds the multiplicity of voices that emerge from situated interactions and reconfigures “speaking out” as a process of mutual engagement. (3) “Transmediation:” This section centers on Taman-Taman (Park), in which international students and Taiwanese image workers co-produce intermedial experiments that combine poetry, sound, and visual montage. The film interrogates how translation, representation, and poetic soundscapes can serve not merely as substitutes for migrant speech but as enabling conditions for new forms of shared authorship and agency.
Through these three approaches, the paper argues that Your Bros. Filmmaking Group’s “Migrant Worker Trilogy” embodies a sustained negotiation between ethics and aesthetics. Its practice continues the moral gesture of “speaking with” rather than “speaking for” marginalized others, yet it also problematizes the very concept of voice by exposing how voice is mediated, translated, and collectively produced. The group’s creative strategy of “on-the-spot” filmmaking foregrounds process over product, situating the documentary as a living site of co-creation in which the filmmaker’s self-reflexivity becomes inseparable from the migrant participant’s expression. In doing so, the trilogy renews the aesthetic vocabulary of Taiwanese migrant-worker documentaries and demonstrates how cross-national collaboration can reanimate the social life of documentary cinema. Ultimately, the article proposes that Your Bros. Filmmaking Group transforms the act of voicing into an event of relation, where space, sound, and shared labor converge to reimagine the possibilities of representation and the politics of presence. |
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