焦點影人：「金門戰不戰」董振良

穿上脫下

Chuan Shang Tuo Sia

影片介紹: 戰爭與金門，對這些初來乍到的阿兵哥們究竟代表著什麼？
片中主角小葉和所有來自台灣的年輕人一樣，對「金門」懷有複雜感慨的愁緒。曾是最危險的戰爭前線，如今已「風光不在」，混著時間、等待退伍，也成了這群阿兵哥的日常。然而，與同袍不同的小葉卻對金門戰地遺跡情有獨鍾，總在休假日拿著相機、騎著機車，冒著違反軍紀的風險，遊繞金門，拍下一張又一張的照片。至於他為什麼想拍呢？

本片透過近代年輕人的視角，重新審視金門閩南戰地的意義。當脫下軍裝，再次放大過往，人們將能在滿是光陰足印的金門遺跡中尋出怎樣的過往與記憶？

What do War and Kinmen truly mean to these newly arrived soldiers? The protagonist, Yeh, like many young Taiwanese, holds a complex and melancholic sentiment towards "Kinmen." Once a perilous warfront, it's now devoid of its former glory. Unlike his peers, Yeh has a unique passion towards Kinmen's wartime remains. Armed with a camera and riding a motorcycle, he defies military regulations, capturing a photo after another while circling Kinmen. What drives his desire to capture the photos? What is the purpose behind it all?

導演介紹: 董振良，金門古崗人，退伍後在台北一家傳播公司擔任攝影助理，自己買了一台VHS攝影就開始拍起片來，首部作品便談到家鄉金門的交通醫療問題，進而為了記錄金門社運，在1989年與朋友一同創立了螢火蟲映像體。董振良的拍攝風格深深受到成長於戰地金門的歷史背景環境所影響，在戒嚴時期就開始偷偷進行拍攝，透過紀錄片反映人民心聲，同時將金門的影像作品透過在全國舉辦影展傳遞出去。

Dong Cheng-liang, born in Kinmen, in order to document the student movement in Kinmen, co-founded "Firefly Image Company" in 1989 with friends. His filming style was deeply influenced by the complicated historical background of Kinmen. During the period of martial law, he used documentary filmmaking to reflect the voices of the people and explore the essence of Kinmen.

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