論《一八九五》的歷史地景──主、客異視閾的衝突

History and Landscape in Film ‘1895’–Conflict and Recognition

以空間與時間構築出的歷史地景，在台灣這塊土地上尤顯糾葛，不同學理、不同政治主張至今仍莫衷一是，在文學藝術的展演上，更充分展現豐富的觀點表達。電影《一八九五》以1895的乙未戰爭作為鋪陳敘事的主軸，在歷史地景的詮釋上卻與原著《情歸大地》迥異，除了涉及導演與作家出生於不同世代，或亦可稍窺這個複雜課題在時間推移後的劇烈變化。本文以電影《一八九五》作為研究主題，該片以台灣在1895年、由清朝割讓給日本後，發生一連串台灣人民自組義勇軍抗日的史實「乙未戰爭」為主線，導演藉由這段歷史地景，運用複雜的顯、隱雙線鋪陳觀點，勾勒出更深沈的歷史詮釋。本文則由歷史地景作為解構電影詮釋的基礎，分由台灣的歸屬、地景空間的轉換符碼、性別超越與土地本質三個視閾的研究架構，解析電影文本；希冀深入導演在複雜的主、客異視閾衝突中，希冀引發觀者的思維空間，及創作背後超越現象的終極關懷。

Director Chih-yu Hung’s film ‘1895’ also known as ''Blue Brave – The Legend of Formosa in 1895'' is based on Li-Chiao’s novel Return to Mother’s Land, telling the Yiwei War occurring at Taiwan in 1895. The film mainly focuses on the story of the Taiwan people’ resistance against the Japanese invasion in 1895 after the Qing government ceded Taiwan to Japan. Yet, Hung portrays this history in his film in a diverse way from Li’s novel. It is because they are in different generations, and moreover, this history may be interpreted from another perspective by time. This article is about to explore how the director represents this history from subjective/ objective perspectives to lead audiences to re-think about the sense of belonging, and further, the identity.