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  • 學位論文

大眾記憶與歷史重述:解嚴後臺灣電影中的殖民經驗再現(1987-2011)

Popular Memory and Historical Renarration: The Representation of the Colonial Experiences of Taiwan Films in Post-Martial Law (1987-2011)

指導教授 : 柳書琴
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摘要


摘 要 2008年電影《海角七號》引發一連串大眾對殖民記憶的回應。如此熱烈的迴響引起筆者的關注。電影上映時間離終戰時早已過了60多年,卻在此時引發許多對殖民記憶的相關迴響。討論臺灣殖民地時期的歷史電影,相較於文學而言,數量並不多,這樣的現象是來自於國家政治力量在電影體制中作用所導致的。直至80年代的新電影時期,官方限制開始遭受到挑戰。此時影片取材以回顧個人成長經驗為主,電影裡因而逐步出現臺灣在地經驗的歷史文化。電影檢查法的影響一直到解嚴後才逐漸開放,這也使得第一部以臺灣人歷史為主體、探討臺灣殖民地時期的庶民生活經驗的《稻草人》在1987年出現。隨著解嚴後政治的鬆綁,臺灣電影裡所呈現出的文化記憶之主體位置開始變化,臺灣在日本統治下這段被殖民的歷史經驗才得以開啟論述空間。 因此,本論文將從1987年解嚴後到2011年期間,篩選出較具代表性的7部電影,依據電影發行時間,兼顧影像中日本殖民統治歷史,在題材、敘事與展演形式的異同,分成三章進行討論。希望透過這7部電影,探討日本殖民臺灣的歷史過程於臺灣電影裡的再現,及在此再現過程中形塑出的殖民敘事與臺灣認同,在解嚴後二十多年間所具有的不同表現與意涵。藉由本研究,筆者除了說明、分 析臺灣解嚴後各時期電影中殖民歷史議題的表現與特色,更將試圖在二十多年期 間的縱向發展中,梳理、歸納出臺灣當代電影中日本殖民敘事的發展及其與臺灣人集體情感、大眾歷史記憶和族群歷史重述之間的關係。 通過對這7部電影中的殖民經驗進行研究討論,可以發現解嚴前後出現《稻草人》(1987)、《悲情城市》(1989)、《無言的山丘》(1992)這三部電影,在重建殖民經驗的歷史敘事中,突破過往中國化的殖民地經驗之敘事結構,呈現文化記憶多元並置的現象。90年代出品的《戲夢人生》(1993)與《多桑》(1994)以自傳式的敘事表現歷史記憶,亦即以個人記憶的回溯來探討殖民情感經驗、以及文化身分認同的境遇。這兩部電影的歷史敘事皆從個人生命史的視角出發,探問時代與個體之間的關係,試圖探析殖民記憶中的情感結構問題。而後出現的《一八九五》(2008)與《賽德克.巴萊》(2011),電影的主要特色皆以族群視角重述歷史事件,對過去官方的抗日歷史論述進行解構。這兩部電影能夠在社會大眾之間,獲得熱烈反應,更是突顯出近來臺灣社會各族群積極建構自我族群的歷史經驗,反映出當代社會的多種現實需求。 關鍵字:殖民經驗、大眾記憶、歷史重述、臺灣電影

並列摘要


Abstract In 2008, Cape No. 7 sparked a series of reactions from the public about memories from the colonial era. The enthusiastic response attracted the author’s attention. The movie was released more than 60 years after the end of the war, but it still triggered many responses about memories of the colonial era. Compared with literature, there are relatively few movies that discuss Taiwan’s colonial history, and most of those that do appeared after the lifting of martial law. This phenomenon was due to the government’s political power in the film production system. Official restrictions began to be challenged during the New Wave Cinema period in the 1980s. Subjects of movies at this time were dominated by memories of individual growth, and the history and culture of Taiwanese local experience gradually appeared in the movies. The rating system for movies slowly relaxed only after the end of martial law. This created the conditions for the 1987 release of The Scarecrow, which was the first to explore the life and experiences of the Taiwanese common people during the colonial period. With the political freedoms that arrived after the end of martial law, the subjective position of cultural memory in Taiwanese film began to change, different historical experiences and memories emerged, and only then did the historical experience of Taiwan under Japanese colonial rule find room for discourse. This thesis selects 7 of the more representative movies from the period, between the lifting of martial law in 1987 and 2011, and discusses them in three chapters according to the dates of their release and with respect to the depiction of Japanese colonial rule in film and the differences and similarities in their subject matter, narratives, and modes of exposition. Through these 7 movies, the thesis explores the re-creation of the historical processes in the Japanese colonization of Taiwan, as well as the various manifestations and meanings of the colonial narratives and the sense of Taiwanese self-identification shaped in this re-creation process in the 20-odd years after the end of martial law. In addition to describing and analyzing the manifestations and characteristics of issues in colonial history in film from various periods after the end of martial law in Taiwan, the author also organizes and categorizes the development of narratives of Japanese colonial rule in modern Taiwanese film and its relationship with the collective emotions of the Taiwanese, the public historical memory, and the restatement of group history in the more than 20 years of longitudinal development. Key words: colonial experience, public memory, historical restatement, Taiwanese film

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