大陸電影中的台灣

身分認同這一議題關注的主要焦點是自我和他者的關係。本文圍繞台灣、國家、電影三者來討論身分認同問題，認為台灣以及台灣電影最重要的他者不是美國或好萊塢而是中國大陸。自我／他者的結構關係可以置換，因此我們也可以從他者的角度來觀照上述台灣、國家、電影的三角關係。本文分析大陸生産的三部關於台灣的電影，它們分別代表三個時代、三個類型以及三种美學風格。這三部電影展現出一個「返殖民地擬態」的想像。在這個跨域不同歷史階段的想像體系中，我們需要重新審視自我和他者的相互關係。

關鍵字

國家電影；代現；拼貼；返殖民地擬態

並列摘要

Identity as a critical issue hinges on the relation between self and other. This article approaches the issue of identity through the interactions among Taiwan, nation, and cinema. It argues that for Taiwan and Taiwan cinema, the most significant other is not the US or Hollywood but mainland China. But, self and other are merely structural positions, so we can reconsider the triangular interactions among Taiwan, nation, and cinema from the perspective of that other. This article analyzes three mainland Chinese films about Taiwan. These films belong to three different historical eras, three different genres, and three different cinematic styles. The films develop what I call a ＂counter-colonial mimicry,＂ a historical regime of representation through which we must reconsider the mutual relation between self and other.