賣座電影的光榮台灣想像： 論魏德聖《海角七號》、《賽德克．巴萊》與《KANO》

本文以2008年後台灣商業電影中，以「光榮台灣」連結「愛台灣」意象，進而運用在電影劇情、行銷模式與導演形象上，使商業電影成為彰顯台灣意識的一種文創商品現象，進行一個初探性的研究。研究主要的問題意識為：在2008年這波「光榮台灣」的浪潮中，引領潮流魏德聖的《海角七號》（2008）、《賽德克．巴萊》（2011）與《KANO》（2014）如何藉由具有台灣獨特性的文化現象，使故事與角色形象營造出光榮台灣的想像。諸如台灣與大日本帝國間的殖民關係、賽德克族對於自身文化的捍衛與保護，與在地化多元民族的和諧想像，以正向與熱血的情節，讓觀眾感到身為台灣民族的驕傲。甚至連魏德聖這樣的創作者形象，也能成為了這光榮台灣形象中的一環，使支持導演也成為愛台灣運動的一部分。建立起光榮台灣形象後，魏德聖再藉由與地方景點的連結，取得政策補助。此外，在行銷手法上，藉由網路平台使支持者更加死忠，搭配「愛台灣」意象的預售票模式（募資模式），與全方位以「台灣味」為主軸的周邊商品。使觀眾能藉由支持電影、口碑行銷與預購模式，建立起與劇組一塊為台灣文化打拚的共同體想像，使「支持國片」賦予了另一層文化意義。在《海角七號》之後商業國片市場上出現許多類型相近的作品，延續以「愛台灣」為主軸的文創商品。包括前述以台灣風景之美來連結「愛台灣」主軸並取得政策支持，以及美化日治時期現代化經驗，與浪漫化的台客形象等，都在這波支持國片的賣座電影浪潮中，成為重要的故事要素。總歸來說只要能夠連結「愛台灣」與「光榮台灣」的想像，讓觀眾感到台灣民族的光榮感，並且能有別於中國文化，具有獨特且正向意義的「台灣文化」意象，成為了對抗主流好萊塢電影，並且讓台灣民族主義成為台灣電影市場具有特殊性意義的銷售策略。

關鍵字

海角七號；賽德克．巴萊； KANO ；光榮台灣；魏德聖；國片；愛台灣；民族主義；文創商品

並列摘要

This essay is discussed commercial films from Taiwan, which is connected "Glorious Taiwan" with "Loving Taiwan". Furthermore, it also used to commercial films and directors' image. It makes commercial films be become cultural industries to emphasize the consciousness of Taiwan in order to do study firstly. The main question is as follows, "Glorious Taiwan" in 2008 was led "The Cape No.7", "Seediq Bale"and "KANO" to take these films for examples to present how to use the unique images from Taiwan in order to make stories and characters shape the images about "Glorious Taiwan"，such as the colonial relationship between Taiwan and Japanese Empire, Sidek defend and protect their own culture, also the peaceful imagination of different cultures. The positive and blood plots makes audiences be proud of being a Taiwanese. Even then Wei Te-Sheng being a creator also becomes a circle to achieve the image of "Glorious Taiwan ", the behavior of supporting directors becomes a part of loving Taiwan. After instructing the image of "Glorious Taiwan", Wei Te-Sheng also used the link of tourist attraction to acquire financial subsidies from government. In addition, the marketing strategy not only uses Internet to make supporters be more loyal, but also matching pre-sale tickets with imagery of loving Taiwan and using Taiwanese flavor to be main scheme about merchandise。It makes audiences deeply to set up a image of Taiwan culture with a film crew through supporting films, word of mouth, and pre-order model. On the other hand, it makes the consuming behavior of audiences give another cultural meaning. After appearing"The Cape No.7", there are more and more commercial films in the market, it continues the main scheme of "loving Taiwan" to be cultural industries. It includes those using Taiwan's beautiful scenery to get policy support and beautifying the experiences of modernization during Japanese Colonial Period and romantic the image of Taiwanese style. Those are all supporting national films of the blockbuster movies becoming an important elements of telling stories. In a word, if it could connect "loving Taiwan" with "Glorious Taiwan", it could make audiences feel the Glorious Taiwan, and if could be separate China Culture and Taiwan culture with the unique and positive meaning of Taiwan. Moreover, it could confront mainstream of Hollywood movies and making the nationalism of Taiwan become a marketing Strategy with unique meaning.