焦點影人#2 Master in Focus #2

利斯蒂古吉：鮭魚之爭 Incident at Restigouche

加拿大 Canada | 1984 | DCP | Color | 46 min

鮭魚是密克馬克族人 (Mi'gmaq) 賴以為生的食物與收入來源，在文化上更具核心意義。魁北克省政府於1970、80年代開始明令限制當地的漁獲權，引發族人抗議聲不斷，政府於1981年動用上百名警察和保育人員，以催淚瓦斯及塑膠子彈突擊利斯蒂古吉保留區 (Listiguj) ，引起社會一陣譁然。本片不僅記錄下族人的抗爭心聲，更深入探討漁獲權爭議的歷史脈絡，甚至收錄了奧柏莎溫與時任漁業部長之間火藥味十足的對話內容。本片引起了國際注目，也標幟奧柏莎溫與NFB製片方關係翻轉的里程碑。

The Quebec Provincial Police raids on the Restigouche Reserve in 1981 as part of the efforts of the Quebec government to impose new restrictions on Native salmon fishermen. Released in 1984, this groundbreaking and impassioned account of the police raids brought OBOMSAWIN to international attention. The film features a remarkable on-camera exchange between OBOMSAWIN herself and provincial Minister of Fisheries Lucien LESSARD, who’d ordered the raid.

我叫卡涵媞歐絲塔 My Name Is Kahentiiosta

加拿大 Canada | 1995 | DCP | Color | 30 min

★ 1996 美國印地安電影節印地安紀錄片銀獎

1990年，加拿大魁北克省的原住民保留區坎那沙塔奇 (Kanehsatake) 與奧卡村 (Oka) ，因私人高爾夫球場的興建爭議，爆發警方與摩莫克族人 (Mohawk) 長達兩個多月的土地爭奪戰。針對這起事件，艾拉妮斯．奧柏莎溫創作出格局宏大且極具開創性意義的《坎那沙塔奇抗爭史》，更延伸出橫跨七年創作的奧卡四部曲（The Oka Quartet）。本片即為第二部續作，內容突顯女性在整起暴動事件的關鍵地位，並聚焦於年輕抗爭者卡涵媞歐絲塔的故事：她在歷經78天的武裝對峙後遭到逮補，且比其他人多拘留了四天，只因檢方不願承認她的原民名字。

Kahentiiosta, a young Kahnawake Mohawk woman, was arrested after the Oka Crisis' 78-day armed standoff in 1990. She was detained 4 days longer than the other women, because the prosecutor representing the Quebec government did not accept her Indigenous name. The film chronicles the arrest and detention of those who revolt against the army, and presents the true revolutionary spirit of Mohawk women.

艾拉妮斯．奧柏莎溫 Alanis OBOMSAWIN

北美阿本拿基族 (Abeniki) ，當代最重要的原住民族導演。1932年出生，成長於加拿大東北部奧達納克 (Odanak) 原住民族保留區，見證原住民族從備受白人政權壓迫到族群運動風起雲湧的時代。創作能量豐沛，拍攝電影至今近半世紀，共完成超過50部紀錄片與劇情片。亦為歌手、教育者，畢生積極推動原住民族群運動，捍衛「第一民族」 (First Nations) 的權益。

1960年代，奧柏莎溫以歌手身分在北美各地演唱，透過阿本拿基語向大眾傳遞族群的故事。1967年，她受邀擔任加拿大國家電影委員會製作之原住民紀錄片顧問；1971年，她和原住民寄宿學校的孩子們合作創作短片《聖誕麋鹿學院》，自此展開她的電影拍攝生涯。

奧柏莎溫的電影總是從仔細聆聽他人的故事開始，讓人物透過自己的語言，講述自己的故事。她關注原住民族的權利、文化保存與生態議題，作品題材含括北美原住民族傳統技藝與口述歷史的保存、人與非人之間的生態關係、捍衛傳統領域、對抗不公義的資本主義結構與殖民主義遺緒等。她走訪北美各族群的生活領域，親臨社會運動現場，以影像與聲音記錄下原住民族的故事。

除了透過影像記錄與敘事，傳遞原住民族的知識與文化以外，她也積極參與政治運動，擔任加拿大議會的原住民顧問，並在電影委員會為原住民族與女性電影工作者爭取更平等的工作機會。

A member of the Abenaki Nation and one of the most important Indigenous filmmakers of all time, Alanis OBOMSAWIN was born in 1932 and grew up in the Odanak reserve, northeast of Montreal. She has made over 50 films during her almost-five-decade career. Also a singer, an artist, and an educator, she devotes her life to Indigenous activist movements, defending the rights of the First Nations people.

In the 1960s, OBOMSAWIN was touring around North America, sharing Indigenous stories in the language of Abenaki as a singer. Since 1967, she has been working as a consultant of Indigenous cinema at the National Film Board of Canada. In 1971, her short Christmas at Moose Factory marks the directorial debut of this legendary Abenaki director.

OBOMSAWIN’s films empower the characters and the subjects by letting them tell the stories in their own language. Her focus on the rights of Indigenous people, cultural heritage, and environmental consciousness makes her a passionate and productive filmmaker. Her works cover themes including cultural practices and oral histories of Indigenous people, human and non-human relationships, traditional territories, and unjust capitalist and colonialist constructs. She is often at the front line of social movements, recording the story of her people.