在地文化視覺系統的建構：以《海角七號》及《賽德克‧巴萊》為例

The Construction of Local Visual-Culture: A Study case of “Cape No. 7” and “Saideke Bale”

本文試圖觀察魏德聖導演有關日本殖民歷史的兩部作品《海角七號》及《賽德克‧巴萊》呈現出的「台灣形象」，並以這兩部電影為例，觀察其中展現的「台灣性」（Taiwan-ness）。回顧台灣在1990年代學術界熱烈討論的「台灣性」（Taiwan-ness），其所謂的本土、台灣性，至今仍在建構中。本文將透過影像文本的角度做為研究案例，其中展現最為鮮明的，亦成為連接電影每個片段的共同元素，即為它運用了歷史之因素，也就是台灣被日本殖民的那一段殖民歷史。本文提問，歷史元素在電影裡產生了何種效果，以及挖掘在面對現今台灣的情境時，《海角七號》及《賽德克．巴萊》透過影像敘事建構的動態「台灣性」，以及一個部份重疊而共存共在的台灣主體。 “Cape No. 7” - a movie without big production, released in August 2008, and then caused a high degree of attention and broke billion box office in Taiwan. Regardless of whether the film's success is due to the commercial success or the identity of the history in Taiwan, “Cape No. 7” did hit some amazing record. This paper aims to observe the reason how “Cape No. 7”symbolizes the “Taiwanese image”? What is the symbol of 'Taiwanese image” in the text of the film? It is noteworthy that the director, Wei De-sheng, after the great success of “Cape No. 7”, put more effort on cost and time to shoot “Saideke Bale”, a local anti-Japanese history as the background of the film. This paper will construct a comparative study of these two films to observe the image of “Taiwan-ness”. Based on forth mentioned, it is important to rethink: what is “Taiwan-ness”? This issue started from the 1990s, scholars began the discussion to define “Taiwan”. Through the perspective of these films for observing, which show the most vivid, historical factors of Taiwan. Which is, Taiwan was colonized by the Japan once. This colonial history triggers Taiwan's sensitive issue of identity, thus, this paper will try to examine that what kind of effect of the historical element used to show “Taiwan-ness” in the film.