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歷史與記憶之間:《無言的山丘》與《多桑》的礦坑空間

Between History and Memory: Mine in Hill of No Return and A Borrowed Life

摘要


在王童的《無言的山丘》(1992)與吳念真的《多桑》(1994)中,礦坑空間帶出了臺灣歷經日本殖民時期與黨國威權統治下的歷史與集體記憶。片中,在礦坑空間生活的人物角色,除了礦工,還有間接參與和採礦相關商業活動的其他底層民眾及殖民統治者。依著人物的國族、社會與性別身份以及他們的日常生活實踐,形構出一個以礦坑為中心滿布界線的關係網絡。其間,個人職業、家庭背景、關涉的社群與族裔認同,將他們劃分於固定的權力位置上。本文將檢視《無言的山丘》與《多桑》中的礦坑空間如何透過影像與音像敘事,如,長鏡頭攝影、蒙太奇剪輯以及旁白設計,呈現出皮耶.諾拉(Pierre Nora)定義下的記憶場域樣貌,其場域的物質性、功能性與象徵性突顯了空間裡的衝突對立關係,從而討論隱藏於礦坑的移動力與空間的變形,如何營造跨界想像,進一步說明礦坑如何衍生出連結對立衝突的翻譯性。

並列摘要


In Wang Tong's Hill of No Return and Wu Nianzhan's A Borrowed Life , mining spaces are loaded with history and collective memory from the 1930s, a time when the Japanese Occupation was about to be replaced by the KMT regime. In these films, those who wish to test their fortunes all gathered in the mining district, including Taiwanese miners, Japanese colonizers and immigrants from China as well as Okinawa. Their everyday life practices constituted a power structure in which they were positioned according to their ethnic, social and gender identities. The two films make use of long shots and also juxtaposed with references to the history of the mining industries in Jiufen and Jinguashi, both of which were mountain areas in the Ruifang District of New Taipei City. With edited montages and messages articulated through voice-overs, the scenes seem to function as a lieux de mémoire in Pierre Nora's sense. As a memory site, the mining pit could be evaluated according to its material, functional, and symbolic aspects, from which we can perceive conflicts caught within the space. On the one hand, the conflicts reflect a power hierarchy. On the other hand, there is an undertone of transactional connections in conflicts. These connections illuminate the mobility of the colonized body and the transformation of a closed space into an open discourse, which can then lead one to consider the translatability of the mine site.

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