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讓．胡許
法國
癲狂仙師
1955，紀錄片，28分
Jean Rouch
France
Les Maîtres Fous
1955, documentary film, 28'00"

讓．胡許的田野之作《癲狂仙師》，是他於西非尼日（Niger）的田野，透過「分享式人類學」的理念下展開，胡許從一名殖民帝國派遣的水利工程師幹部，成為一位影像民族誌者，跟殖民地的一位老祖母有關。他在1940年代在尼日河流域遇到了一位傳統治療師與漁民之子，亦即他的主要報導人達穆雷．錫卡（Damouré Zika），並雇用錫卡的族人當工人時，有一天錫卡的十位族人在建造倉庫時，突然被雷擊身亡，於是，身為著名靈媒與精神諮商者的錫卡的老祖母，就為這十位族人主持了一場渡亡儀式。同時，也引領胡許走上民族誌影像之路。然後，錫卡漸漸成為了他的夥伴，協助拍攝、甚至剪輯，讓有些影片的敘事介於真實與虛構之間，也慢慢讓電影成了尼日的新敘事工具，最後，也讓他自己的某些影片敘事方法成了尼日當地新導演的反叛對象。

．本作品展出至2014年12月31日

The field work of Jean Rouch,"Les Maîtres Fous" (1955), unfolded with the idea of "shared anthropology", when he was a colonial hydraulic engineer to Niger in western, Africa. The reason Rouch became a video ethnographer involves an old grandma in the colony. He had met Damouré Zika, the son of a traditional healer and fisherman, at Niger River basin back in 1940s, who became his key informant thereafter. He then hired Zika's clansmen as workers. However, one day when 10 workers were killed by a lightning strike when they were building a warehouse. Consequently, Zika's grandmother, a famous possession medium and spiritual advisor, presided over a ritual for the 10 men, which led Rouch onto the path of ethnographic film. Zika later worked as his associate and assisted him in shooting and even editing, which made the narratives of his films situated in between of fiction and of non-fiction. Eventually, film gradually becomes the new narrative tool to Niger. In the end, some narrative techniques Rouch adopted become the objects for the rising directors of Niger to rebel against.