在視覺人類學的研究架構下，本論文透過參與觀察與深度訪談分析三位重要的臺灣第一代原住民籍紀錄片導演－馬躍‧比吼（阿美族）、比令‧亞布（泰雅族）與張淑蘭（達悟族）。他們都曾透過紀錄片製作與自發性的巡迴放映行動，在自己所屬的社群中推動族群集體認同與文化復振行動。本項研究特別聚焦在三位導演於原住民部落拍片時，所面對的幾個矛盾處境，例如，具有爭議性的合作案、探討影片中不被呈現的片段，以及具有原住民身份在部落拍攝時可能存在的困境等等。透過原住民籍紀錄片導演的個人反思，本文嘗試驗證原住民內在視角的發掘，有助開拓紀錄片拍攝倫理議題的思辨，同時期許觸發當代導演與被攝者互動關係之間更開闊的理解。

Through the lens of visual anthropology, this paper offers an analysis of three first-generation Indigenous documentary filmmakers in Taiwan: Mayaw Biho (Amis), Pilin Yapu (Atayal), and Chang Shu-Lan (Tao). Using participant observation and in-depth interviews, I explore how these directors revolutionized discourses of collective Indigenous identities and revitalized local cultures through documentary films and independent public screenings. I also consider some of the challenges and complexities these directors faced while filming in their native communities. Through these reflections, this article raises ethical questions around conflict management during collaborative filming, what is left unseen and unsaid, and how directors negotiate their own identities as insiders in relation to their work. I aim to demonstrate how Indigenous endogenous perspectives can contribute to ethical debates around documentary filmmaking and expand contemporary understandings of the relationships between directors and their subjects.