重新思考/重新连接殖民破裂——论穆斯基基·齐英和郝景班的近期作品

Yu-Chieh Li
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引言:殖民地历史的断裂本文分析了最近由穆斯基基·奇英和郝京班执导的散文电影,这些电影在研究过程中部署了殖民地档案和合作。这些随笔电影提供了另一种视角来揭示以前未被充分挖掘的叙事——在这篇文章中,我称之为“断裂”。在关于后殖民条件的文献中,这种断裂描述了殖民导致的文化分离的边界。因此,殖民地的分裂使非西方世界(如亚洲-非洲和其他开采和开采地)之间以前的联系被遗忘。摩擦和裂痕在这里不仅仅是从殖民地-后殖民分裂的时间意义上进行讨论。这种缺失的环节导致了殖民者/被殖民者和北方/南方的二元系统。这些障碍是殖民政治经济体系的架构、对土著文化的剥夺和压制、流离失所和与自然栖息地的脱节。这些断裂必须在非殖民化话语中修复和重新连接。通过研究殖民历史中的暗流,我将调查创造性研究是如何试图弥合这种断裂的。我的目的是揭示叙事如何使自我和他人之间的凝视复杂化,而不浪漫化或伤害他人。为此,我首先总结了后殖民话语在汉语世界中的现状,对本质主义的批判,以及策展人和理论家黄建宏重新解释和丰富的德勒兹的aion概念。第二部分分析了殖民主义时期中国与非洲和日本关系的几部运动影像作品。随笔电影因其纪录片性质和对全球展览形式的适应性而成为记录艺术家主导的全球冲突研究的主要媒介。风格和方法的灵活性适应了各种形式的讲故事,通常用于鼓励不同的人参与
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Rethinking/Relinking Colonial Ruptures: On Recent Works by Musquiqui Chihying and Hao Jingban
Introduction: Ruptures in Colonial Histories This article analyses recent essay films directed by Musquiqui Chihying and Hao Jingban, which deploy colonial archives and collaboration in the research process. These essay films offer alternative perspectives to reveal previously underexplored narratives––which in this article I call ‘ruptures’. In literatures on postcolonial conditions, the rupture describes the borders separating cultures as a result of colonisation. Colonial ruptures thus cast previous connections among the non-Western world (e.g. Asia–Africa and other sites of exploitation and extraction) into oblivion. The frictions and fissures are not merely discussed in a temporal sense of colonial–postcolonial division here. Such missing links result in the binary system of coloniser/colonised and North/South. These barriers were the architecture of colonial political economic systems, the deprivation and suppression of indigenous cultures, and displacement and disconnections from natural habitats. These ruptures must be fixed and relinked in decolonial discourses. Through examining undercurrents within colonial histories, I will investigate how creative research seeks to bridge such ruptures. My aim is to reveal how the narrative complicates the gaze between self and other, without romanticising or victimising the other. Towards this end, I first summarise the current status of postcolonial discourses in the Chinese-speaking world, the critique of essentialism, and the Deleuzian notion of aion (holes and ruptures) as reinterpreted and enriched by curator and theorist Huang Chien-Hung. The second section analyses several moving image works that explore China’s relationships with Africa and Japan under colonialism. Essay film emerged as a major medium for recording artist-led research on global conflicts due to its documentary nature and adaptability to global exhibition formats. The flexibility of style and approaches accommodates various forms of storytelling and is often used to encourage the participation of different
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