本研究主要針對香港於1960年代中葉出品的兩部涉及臺灣原住民題材的電影,分別是1964年出品的《黑森林》與1965年出品的《蘭嶼之歌》,就其中所涉及的原住民形像與論述進行探討與再解讀。這兩部電影具體呈現1960年代香港電影工作者對臺灣原住民的異國想像與形象建構,在過往有關原住民影像再現的研究中,這兩部香港電影的重要性一直被忽略,本論文即是嘗試補上此一拼圖。本研究刻意突出香港的觀點,將兩部電影的文本置入香港地緣政治與電影產業的語境脈絡中加以檢視。本研究發現兩部電影都刻意淡化了臺灣國家機器的身影與角色,放大了歌舞表演作為一種視覺上的奇觀,也複製了漢人男性與原住民女性戀愛的特殊模式。本研究的發現可以為原住民電影再現的既有研究成果,提供更多的角度與觀點。
This study mainly targets two movies involving Taiwanese aborigines that were released in the mid-1960s in Hong Kong, namely, "Black Forest" released in 1964 and "Song of Orchid Island" released in 1965. Both these movies explore and reinterpret the image of aborigines. The two movies specifically present the exotic imagination of Hong Kong filmmakers in relation to Taiwanese aborigines and associated image construction. Previous research on representation of Taiwanese aborigines has overlooked the importance of these two movies. This study attempts to bring together the pieces of the puzzle, highlighting Hong Kong's perspectives, and embedding the movie texts in Hong Kong's geopolitics and the context of its film industry. This study found that both movies purposely play down representations of the Taiwanese state, amplify song and dance performances as a type of visual spectacle, and duplicate the special mode of Han Chinese men falling in love with indigenous women. This study provides fresh perspectives to complement the existing research on the representation of Taiwanese aborigines in cinema.