誰的民族英雄──在《賽德克•巴萊》風潮之後

Whose National Hero: Following the Wave of the Film “Seediq Bale”

2011年，由魏德聖執導的《賽德克‧巴萊》上映，以霧社事件為故事題材，並仿照好萊塢英雄史詩電影般大敘事的拍攝手法，於台灣創下八點八億新台幣票房，當時盛況幾乎可以用全民運動來形容。弔詭的是，當這部電影越來越廣為人知，並引發國內、外諸多評論與掌聲的同時，「賽德克巴萊」仿佛成了公共財，屬於大眾，屬於魏導，卻離真正在地的族人越來越遠。在這篇文章中，首先，透過《賽德克‧巴萊》劇本中兩個關鍵概念的轉譯，探討導演魏德聖所再現的「內部觀點」與賽德克信仰之間的意義落差；其次，試圖重建魏導及其劇組與族人在電影攝製過程中的一些關鍵互動，剖析在不均等權力關係中賽德克族人所展現的能動性；最後，檢視《賽德克‧巴萊》作為一個媒體景觀所生產出的兩個巨大光環──「魏德聖」與「台灣」。透過這個個案作者進一步想要凸顯的是，所謂「跨文化再現」並非只靠善意、努力或允許多元發聲就足夠，而是需要進一步去檢視再現過程裡更深刻的倫理與政治意涵，尤其是眾聲喧嘩背後不平等的權力關係。 In 2011, Taiwan's first epic blockbuster “Seediq Bale” produced locally was shown on screen. With the Wushe Event as the story theme and modeled after Hollywood's heroic epic film shooting style, box office revenues in the amount of NT$880 million were generated, and the sensation was almost a national movement. Paradoxically, as the film became more widely known and brought many domestic and foreign comments and applauses, “Seediq Bale” became more like a public good belonging to the public and Director Wei, but farther and farther away from the authentic local tribes. In this article, first, Director Wei Te-Sheng's reproduction of “the internal point of view” was explored by translating two key concepts in the script of “Seediq Bale.” Secondly, an attempt is made to reconstruct key interactions among Director Wei, the cast, and the tribal people during the filmmaking process in order to analyze the agency displayed by the Seediq people in the relationship of unequal power. Finally, I will analyze the two auras, namely, “Wei Te-Sheng” and “Taiwan” arising from “Seediq Bale” as a media landscape. Through the case, I intend to highlight that the so-called “intercultural representation” is not about solely relying on good will, hard work, or allowing multiple voices to be heard. Instead, it is about further examining the deeper ethical and political implications, especially the unequal power relationship behind the voices of the masses.