近年來由於台灣社會的勞動力需求大增，移工人數快速攀升，然其所面對的權益剝奪與人權喪失值得更多的關注。本文以黃惠偵《八東病房》、盧昱瑞《水路──遠洋紀行》及阮金紅和蔡崇隆《再見，可愛陌生人》作為分析文本，探究當代台灣紀錄片如何再現東南亞移工，並透過鏡頭揭露移工的職場困境；當法律規範和社會結構將移工納入性的排除，影像作品又如何展現移工的職場空間與生命政治？本文主要探討三個問題：（一）移工在勞動過程中的生命形式；（二）職場空間和移工主體的動態建構；（三）移工與雇主、台灣人之間觀看與被觀看的關係，是以釐清移工紀錄片所欲傳遞的觀點和移工議題的反思，剖析移工生命所受政治經濟結構之影響。本文藉由檢視極具政治性的紀錄片所再現的東南亞移工影像，指出紀錄片作為一種發聲工具和批判媒介，在弱勢發聲的基調之外，以影像介入結構性問題與法律制定的倡議仍有其局限性。

In response to the urgent need of labor force in Taiwan, the population of international migrant workers has been growing in recent decades. The difficulties these workers have undergone, such as exploitation and encroachment on rights and humanity, are noteworthy. With the case studies of Hospital Wing 8 East, Squid Jigging Fishing Boat, and See You, Loveable Stranger, this essay examines how contemporary Taiwan documentaries represent socially-marginalized Southeast Asian migrant workers and carve out their predicaments in the workplace. As migrant workers are inclusively excluded by the law and the social structure in Taiwan, how do these documentaries respond to the biopolitical situation manifested in the workplace? This essay looks into three research questions: (1) migrant worker’s form of life in the labor process; (2) the dynamic construction between migrant worker’s subjectivity and workplace; (3) the relation of seeing and being-seen among migrant workers, their employers, and Taiwanese people in general. I argue that these sociopolitical documentaries as a tool of representation and critique visualize and embody the relevant issues. However, though the films have returned a voice to the voiceless, the possibility of calling attention to the policy initiative of migrant workers’ human rights in Taiwan through documentary filmmaking is still limited.