2014 年3 月18 日，數百名大學生與NGO人士衝進立法院，抗議強 行通過的兩岸服務貿易協議，這一天標示了318 太陽花運動的開始，同 時也改寫了台灣抗爭運動史。本文將針對兩部太陽花的影像紀錄，包括 由台北紀錄片工會發起拍攝的紀錄片《太陽‧ 不遠》，以及袁廣鳴的錄像 作品《佔領第561 小時》，試圖提問這兩部影片如何展現，卻又同時限縮 了運動本身的「基進性」。本文共分三個部分進行：第一部分將討論法國 哲學家洪席耶（Jacques Rancière）對政治與美學的重思，不同於政治哲學 對於政治的規範式定義，洪席耶將政治描繪為「歧議」的發生，它讓「無 分之分」得以出現，重新劃分了既有的「感知分配共享」，讓我們看到政 治與美學之間的密不可分；第二部分討論《佔領第561 小時》如何以「後 再現」的方式，挑戰紀錄片影像的再現秩序，並在新的觀看現實中體現 美學民主；第三部分探討《太陽‧ 不遠》如何在影像運動上，挑戰資本 主義所有權與財產的概念，開展太陽花運動所蘊含的「共群」想像。

On March 18th 2014, a coalition of students and civic groups occupied the Legislative Yuan in protest against the enforcement of the Cross-Strait Service Trade Agreement. This day not only marks the beginning of the Sunflower Movement but also rewrites the history of social movements in Taiwan. Focusing on two videos that document the movement, Sunflower Occupation by Taipei Documentary Filmmakers’ Union and Yuan Goang- Ming’s The 561st Hour of Occupation, this essay asks the extent to which the “radicality” of the movement is both developed and reduced by them. Divided into three parts, this essay first discusses the French philosopher Jacques Rancière’s rethinking of politics and aesthetics. In contrast to the prescriptive definition of politics in political philosophy, Rancière describes politics as the occurrence of “disagreement” that makes the “part of no part” appear and re-configures the established “distribution of the sensible,” thus revealing the inseparable coupling between politics and aesthetics. Part II demonstrates how The 561st Hour of Occupation challenges the representative order of documentary through “post-representation” and embodies an aesthetic democracy in its new visual reality. Part III turns to Sunflower Occupation to show how it questions the capitalist concept of ownership and property and unfolds the imagining of “the common” implicit in the Sunflower Movement.