| 英文摘要 |
Wei Te-Sheng’s Warriors of the Rainbow: Seediq Bale (2011) represents the Musha Incident, a violent event when the Seediq, a tribe of Taiwanese aborigines, rose in revolt against their Japanese colonizers. Reviewing the tragedy exclusively from the scope of the tribe, Wei demonstrates that the incident was not so much caused by the colonization as most historical, cultural and visual texts represent it, as it was the result of a realization of Gaya, an ancient custom that every Seediq was disciplined to follow. Battle scenes, images of cherry blossom and the use of voice-over repetitively appear in the film. The repetition not only illuminates the significance of Gaya but also indicates that conflict could lead to collaboration. An analysis of the battle scenes, for instance, shows that the conflict was not always between the colonizers and the colonized but sometimes among the Seediq themselves. Out of self-interest, some of the Seediq choose to conspire with their invaders. Through portraying such conspiracy, Wei emphasizes the differences among the Seediq as individuals. However, perceiving the body and voice of the Seediq, we should pay attention to the intervention of the director. In the final scene, a group of Seediq warriors realize the ascent to a promised rainbow bridge. Romanticizing the Gaya practice, the director shows that these once-silenced aborigines eventually could articulate themselves in public realms. Yet, such romantic portrayal of the historical moments could incite “epistemic violence” against the aborigines, as Spivak may suggest. |
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