本論文從性別政治的角度切入，分析兩位達悟文化工作者（作家夏曼．藍波安和紀錄片女導演張淑蘭── Si–Manirei）在其文學、影像作品裡所呈現的原住民主體所隱含的深層意涵。原住民文學運動在1980年代中葉伴隨原住民運動興起，積極介入原住民問題（the indigenous question）的探討，於原住民主體建構的課題著墨尤深。達悟作家夏曼．藍波安堪稱代表。本論文先以性別政治角度切入夏曼所呈現的達悟主體論述建構，解析其中隱含的「男性社會慾望」（homosocial desire）的深層社會文化意義，以及如此「達悟男性主體」建構方式可能隱藏的性別政治意涵。論文後半段以達悟紀錄片女導演Si–Manirei的代表作《面對惡靈》作為參照，討論這部紀錄片如何在召喚倫理行動的影像紀錄過程中，呈現另外一種原住民主體建構的方式。除了作品預設的讀者／觀眾群不同之外，性別位置的不同也影響兩位達悟文化工作者對於原住民主體建構的處理方式。性別政治的關照有助於我們深入探究原住民主體再現的問題。

Via a comparative study of the writings by Syaman Rapongan (a celebrated Tau indigenous writer) and a documentary film by Si–Manirei (a renowned Tau woman documentary filmmaker), this essay explores the gender politics of the representation of indigenous subjectivity. While the indigenous subjectivity formation in Syaman Rapongan’s works is often informed by what can be called “homosocial desire” as defined by Eve Kosofsky Sedgwick, Si– Manirei’s documentary film And Deliver Us from the Evil represents indigenous subjectivity in terms of Levinasian ethical responsibility for the other. In addition to the difference in the intended function of the works, gender position in traditional indigenous society also contributes to the difference in the approach to the question of indigenous subjectivity. The essay contends that critical attention to gender politics helps shed light on the cultural representation of indigenous subjectivity.