小川紳介為日本1970 年代具代表性的紀錄片工作者，因拍攝千葉縣三里塚農民抗議成田機場事件的三里塚系列紀錄片崛起，而費時13 年完成的《牧野村千年物語》 (1986) 更將小川紳介神話推上高峰。本文欲以小川紳介的紀錄片《牧野村千年物語》為討論重心，探討講求長期定點觀測，以拍攝者長時間駐守其拍攝田野，藉著從事所欲拍攝對象相仿的勞動和生活形態用自身身體去體驗拍攝對象的生活。文中擬以梅洛龐蒂的知覺現象學來分析小川紳介與其拍攝團隊所發展出來的長期定點觀測之紀錄片拍攝的方式如何顛覆了西方長期主客體分離的再現模式，並進一步審視小川紳介的現象學式紀錄片拍攝、實踐所召喚的感性美學。

Ogawa Shinsuke was a celebrated film maker in the 1970s in Japan. He rose to prominence by filming the Sanrizuka series of films that documented the protests at the New Tokyo International Airport, commonly called Narita Airport, by the rice farmers from Sanrizuka. His fame peaked with
the 1986 screening of the "Magino Village: A Tale" that took him 13 years to complete. In this article,I attempt to use the "Magino Village: A Tale" as the focal point of my discussions to explore the theme of Ogawa’s way of making documentary film. By applying the phenomenology of perception developed by Merleau-Ponty, I will look at how Ogawa Shinsuke and his team, Ogawa Pro, have overturned the way of representation long stated in the West separating the subject from object while they made close, continuing observations during their field study. Furthermore, how Ogawa Shinsuke has fulfilled the aesthetics of sensibility through his documentary film will also be explored.