世界各地的原住民影像工作者，因應複雜、難解的主流社會之龐大勢力，已逐漸發展出一些對抗的姿態與策略，企圖移轉原住民族被書寫與被呈現的既定格局，進而多觸角地運用現代數位科技與管道，介入族群文化之再現與形象之製作與生產。然而，深刻烙印西方社會進程、物質條件與象徵系統的視覺科技與影像載體，是否能夠與原住民族的口傳文化進行接合並傳達口語敘說之言說力道及其題旨、意涵嗎？本文將以泰雅族比令．亞布的《彩虹的故事》以及布農族莎瓏．伊斯哈罕布德攝製的《Alis的心願》兩部原住民影片為例，審視攝影機作為現代科技的一種形式，透過原住民導演的中介、轉換，攝影機能否將傳統口傳文化之形式與內涵轉譯出來，轉化到影音的介面，讓原住民族的當代生存處境及其經驗歷程能夠以自我界定的方式呈現出來，進而營造原住民族的視覺主權。

Responding to the complex, obscure, and enormous forces of mainstream society, indigenous filmmakers around the world have gradually developed confrontational stances and strategies in an attempt to change the established pattern of how the indigenous people are written and represented. Moreover, they deploy multiple modern digital technologiesl and channels to intervene in the representation and image production of ethnic cultures. Nonetheless, visual technology and image carriers are deeply imbricated in the Western social process, material conditions, and symbolic system. How can they articulate with the indigenous oral tradition and convey its power, objectives, and implications? Using “The Story of Rainbow” made by the Atayal director Bilin Yabu and “Alis's Dreams” made by the Bunun director Salone Ishahavut as examples, this article will investigates how the camera as a form of modern technology can translate the form and content of traditional oral culture into the audio-video interface through the mediation and translation of indigenous directors. This translation enables present-day indigenous people to present their circumstances and experiences of survival in self-defined ways, and build visual sovereignty.