1-C-3
意義、再現與衝突：
從物質文化觀點來重新理解文化互動（II）

摘要

This paper argues that the movie and museum exhibition focusing on the February 28 Incident can complement each other, and their intertextuality can reveal a different perspective of the incident in history by emphasising the object’s viewpoint. When encountering the history of the February 28 Incident, the museums primarily rely on archival documents for their exhibitions, occasionally incorporating films for educational purposes like film festivals or as visual records of oral histories. However, films that have historical value are usually neglected for historical research because of fiction. Studying objects is important because objects are pervasive and thus fully integrated with society. They carry values and ideas that affect actions and generate emotions through interactions with humans. They can reflect the social structure, perpetuate cultural, geographical, religious, individual, and collective identities, and intervene in meanings between humans(Dant, 1999). The culture also specifies each object's materiality and usage in return. Inspired by a publication by the Memorial Foundation of 228, this paper studies the intertextuality through objects between the Taipei 228 Memorial Museum and the film "A City of Sadness" because of their foremost establishment throughout Taiwan's History. Two objects - radio and cigarettes in both the Taipei 228 Memorial Museum and the film "A City of Sadness" are examined, discovering that the museum decontextualized objects' original materiality and present history through archival materials such as documents. Meanwhile, the film remains the objects' material context through fictional context, including acting, setting, and dialogues. This paper provides a comprehensive perception of the February 28 Incident era through the inter-textualization between the two media.

關鍵字：February 28 Incident, Museum, Film, Object, Intertextuality

摘要

本文以觀察及訪談寵物飼主與寵物在松山文創園區中進行活動時可能面對的困難，並分析寵物飼主在藝文公共空間的行為模式與挑戰，來重新思考藝文公共空間在融納不同群體時的空間使用和配置方針。藝文公共空間除了具備公共空間對所有人開放的特色之外，也是一個重視藝術和文化在當中交織、傳播和發展的場域。與此同時，公共空間還承載著人們對於集體價值與道德的期待，藝文公共空間則是更聚焦於從藝術與文化層面上，實踐集體價值與道德。因此，一個藝文空間的使用者不只對此空間抱有參與及使用的期望，更希望可以從中豐富自身的藝文涵養。從針對松山文創園區的案例初步觀察來看，作為空間使用者之一的寵物飼主與寵物，在這藝文公共空間中有著與空間管理者不一樣的考量，從而產生了在空間使用上的期待落差。本文除了訪談與觀察寵物飼主與寵物之外，也預計會與藝文空間的人員進行訪談，試著從空間管理者和使用者兩方的觀點，找出兩者溝通的可能性。期待能夠在藝文公共空間的開放、使用參與與互動上，為跨物種的共融找到一個開啟對話的切入點。

關鍵字：寵物與寵物飼主、松山文創園區、藝文公共空間、集體價值與道德、跨物種