對於檔案館或博物館而言，蒐集典藏品、藝術品、文獻並建立檔案（或稱資料庫），是最基本的功課，此過程涉及方法、技術與施作程序，除了實務面的考量之外，更涉及對於檔案的美學與哲學性思考；本文要討論的即是典藏品、藝術品、文物或電影，從被發現之後，離開原來所在的檔案（資料庫），被遷徙、轉移、入藏進入另外的檔案裡面，或建立新的檔案，這種現象有可能重複多次的發生，這樣做法是今天檔案館（資料館），博物館運作的常態，這外觀似乎平淡無奇，使用者也習以為常，管理者除了遵循檔案化的工序之外，還可能會有那些人文思考？檔案與再檔案這個行為的本身代表何種意義？檔案與再檔案之間出現的裂縫能否乍現春光？能否讓我們窺見博物館背後所隱藏的秘密？本文以電影蒐藏家博物館的電影器材、戲服、文獻等三個檔案（資料庫）為例，說明檔案的發現、轉移、入藏等再檔案的過程，不是價值的逃逸路線，而是再脈絡化的過程，藉此建立新的話語系統，激活想像擴大影響。

For archives or museums, collecting objects, arts and crafts, documents, and establishing databases, archives and repositories are the most basic tasks; this process involves methods, techniques, and professional procedures. Archiving is not only about practical means, but also related to the aesthetic and philosophical thinking behind the process itself. Objects, art works, cultural relics, or film, from their initial discovery, leave their original repository then migrate and transfer into another repository, a common practice that repeats itself many times through institutions and generations. This essay tries to ask questions around humanistic thoughts that buttress the archival standard operating procedures. What is the symbolic meaning of the act of archiving and re-archiving? Can the space between the archiving and the re-archiving shed light upon such philosophical, aesthetic or humanistic practices? Can we take this opportunity to have a glimpse of the secrets behind the museum? This paper takes the Taipei Film Collectors’ Museum’s three collections of apparatus, costumes, and documents as an example, to reveal and explain how the discovery, migration, acquisition, and other archival work, is not the lessening of value, but rather the process of re-contextualization and enrichment in order to establish a new discourse, to activate the imagination, and to disseminate the influential work of an archive.