本文討論現代性時空隔距所導致的鄉愁、漂泊與殤逝的經驗，在三部《流離島影》紀錄片裡所開展出來的紀錄片再現手法：北方三島《噤聲三角》(沈可尚導演)、小琉球《浮球》(李志薔導演)、龜山島《鄉愁對話錄》(李泳泉導演)。首先討論環繞鄉愁、漂泊與殤逝等現代性時空經驗所發展出來的文化理論，並進入個別作品探討影像再現與紀錄真實的手法。本文強調這三部實驗性質強烈的記錄片，對離島的呈現，充滿了一種飄零、懷舊與殤逝之感(sense of loss)，這種在時空的錯綜經緯中無所安身的悵然若失的感覺，一則來自於離島位處邊陲，在台灣現代化過程中，遠遠落後於本島，島上的生活與文化情境迅速的衰頹與消失(如《鄉愁對話錄》的龜山島)，一則由於產業凋零、與人口外移而衍生的人口交流，(如《浮球》的小琉球)。《鄉愁對話錄》以女性旁白召喚另類集體歷史記憶；《浮球》以浮動的影像換喻與破碎多元的時空交會，來勾繪大陸漁工的漂泊經驗。「鄉愁」進一步被引用來說明攝影科技對歷史「原韻」的慾望，以討論《噤聲三角》在面對真實已不可獲得的認知，以及對真實持續的追求之間，如何去發展一種特有的後現代影像美學。

This article explores the experiences of nostalgia, wandering, and sense of loss in three Floating Islands (2000) documentaries. As the result of time-space distan-ciation caused by modernity, these experiences serve both as the object of and the in-spiration for innovative filmic and documentary expressions found in “Turtle Island: Nostalgic Voices,” “The Floating Ball” and “The Silent Delta.” The explications of documentary techniques will be initiated with brief discussions of the specific his-torical experiences of modernity, which invade and disrupt the local communities on the islands off the coasts of Taiwan to the extent that they are no longer able to sustain a localized form of life. With the emigration of the islanders to Formosa, the islands are either emptied out to become a national park, as in the case of the Turtle Island, or recruiting labor forces from Mainland China, as in the case of Liu Chiu (Floating Ball). The depletion of population thus creates the experiences of nostalgia, wan-dering and sense of loss both on the part of the former islanders and the new comers. In “Turtle Island: Nostalgic Voices,” nostalgia for the memories of the things past be-comes the site where alternative historical memories can be evoked through the use of a female narrator. In “The Floating Ball,” the indentured fishermen from the mainland are situated in the intersections of multiple strands of time-space displace-ment. To capture their specific experiences of wandering along the Taiwan Strait, consisting of mobility and imprisonment, the documentary incorporates the element of chronotopes. In “The Silent Delta,” nostalgia for the aura of history is refigured to embark upon a postmodernist self-reflexive examination of the “reality” and “au-thenticity” the documentaries claim to pursue and capture.