跋涉留情：論魏時煜紀錄片的歷史建構

學者導演魏時煜已拍攝紀錄片八部，其親緣、多重身份及飄泊經歷（中國大陸—北美—日本—香港），一則決定她對東奔西跑的歷史人物的關注與聯想，二則使收納她的作品至地域紀錄片脈絡的研究方法失效。自從與彭小蓮合拍《紅日風暴》（2009），她的鏡頭常始於機遇，終於藉世故的人際技巧及編寫學術專著的方法，尋訪並呈現歷史的多元維度：近代—當代、大—小、國別—跨國，不囿於導演當下身處與身份歸屬的香港。從獨立製作的《金門銀光夢》（2014）開始，魏時煜逐漸向歷史貫注浪漫情調，使歷史還原為個人史，至《跋涉者蕭紅》（2019）和《蕭軍六記》（2021）更見成熟，與她的生命軌跡暗相呼應，亦隱藏以“女性史學”進一步解讀的可能。

Louisa Wei, an academic and director, has to date created eight documentaries. Her family relationships, multiple identities, and diasporic experiences (Mainland China - North America - Japan - Hong Kong) have not only shaped her concern and assumptions about historical figures who traveled extensively, but also challenged the research methodology of categorizing her documentaries within a regional trajectory. Since co-directing Storm under the Sun (2009) with Peng Xiaolian, Wei has often begun her projects with random opportunities and ultimately represented multidimensional histories (modern-contemporary, grand-minor, national-international) by adopting sophisticated interpersonal skills and academic monographic approaches. Relevant representations are not limited to Hong Kong, where the director resides and to which her geographical identity belongs. Starting with Golden Gate Girls (2014), which she directed independently, Wei has gradually incorporated history with romantic moods, turning it into a personal history. This incorporation became more mature in the production of Writing 10000 Miles (2019) and A Life in Six Chapters (2021), corresponding to her life trajectory and implying the possibility of herstoriographical interpretation.