紀錄片再現真實的原則下，導演可以扮演什麼樣的角色？除了真實參與、或是在如蒼蠅般躲在一旁觀察記錄，是否還可以積極一點的介入、甚至參與設計與製造嗎？當記錄自我心靈的對話、記憶和夢時，該如何面對影像和聲音的創造呢？如何展現已過的現實？如何記錄看不見的內心世界？這樣的創造企圖是理想嗎？如何介於真實與虛構之間？紀錄片是否有美學和倫理的範圍與限制？本文企圖由紀錄片歷史與美學作為切入點，來看台灣女性紀錄片的各種可能性。文本將著重於台灣90 年代至今，有關結合真實、虛構、紀錄、劇情等多元美學為創作基礎；同時，又偏向個人紀錄有關自我心靈對話、女性身體省思等議題為主軸的影片，盼望藉由這些影像語言的開拓，探究創作者如何展現其內心世界的自我對話。 What role does a director can be while a documentary film reproduces real principles? If he can interfere positively, or even take part in design and production except to participate in it actually or to hide at the corner as a fly to observe? When record conservation of self-spirit, memories, and dreams, how can they face the creations of images and sounds? How to display past reality? How to record inner world we can't see? Are the creative attempts perfect? How to lie in between reality and fiction? Are there range and limitation of aesthetics and morality? This article attempts to use documentary films and aesthetics to be the point to see every possibility of Taiwanese female documentary film. The texts will focus on the age from 90's to nowadays in Taiwan, and about the combination of multi-aesthetics such as reality, fiction, record, plots and so on to be the creating foundation. In the same time, the texts much more emphasis on the main idea videos which about the issues of recording conversation of self-spirit, the inflection of female bodies and so on. It is expected to explore how the author expresses the self-spirit conversation of his/her inner world by developing these image languages.
