並非簡單的文明與野蠻之對立：《賽德克‧巴萊》裡的歷史再現與認同政治

Historical Representation and Identity Politics in Seediq Bale: Against a Simple Dichotomy between Civilization and Barbarism

本文將探討電影《賽德克‧ 巴萊》裡的歷史再現與認同政治。我認為電影對霧社事件的歷史再現和電影裡的認同政治相互纏繞，試圖拆解事件之內及其外文明與野蠻的對立。電影的歷史再現涉及了它所採取的手法和對事件的詮釋，而後者又蘊含了認同政治，包含賽德克族的自我認同或分裂認同、及其與電影隱含的台灣意識之關係。第一部分我先概述過去對霧社事件的呈現，《賽德克‧ 巴萊》貼近賽德克族觀點如何可能，第二部分討論片中的歷史再現，聚焦於太陽旗與彩虹橋兩組文化符碼的對位（contrapuntal）呈現。第三部分探討電影裡如何透過描寫認同政治與生死掙扎的關係，拆解野蠻與文明的對壘。結論則探討電影的環保意識和當代意義。

This article examines historical representation and identity politics in Wei Te-sheng’s film Seediq Bale. I argue that the movie’s historical representation of the Musha Incident is interwoven with its identity politics to deconstruct the dichotomy between civilization and barbarism both in and beyond the Incident. Whereas the historical representation has to do with its use of film genres and interpretation of the Incident, the latter entails identity politics, particularly regarding its portrayal of the Seediq tribesmen’s self-identity or split identity as well as their relationship with the film’s implicit Taiwanese consciousness. The first section traces the historical, literary, and filmic representations of the Musha Incident in the past, which make it possible for the film to adopt a view closer to those of the Seediq tribespeople. The second section discusses the film’s historical representation by focusing on the contrapuntal relationship between the two sets of cultural signifiers surrounding the Sun flag and the Rainbow Bridge. The third section deals with how the film debunks the dichotomy between civilization and barbarism by its depiction of the relationship between identity politics and the Seediq tribespeople’s struggle between life and death. The conclusion addresses the film’s portrayal of Seediq community’s environmental consciousness and the contemporary significance of the Incident the film brings into focus.