英文摘要 |
Liu Na’ou, a Neo-Sensation writer as well as a movie director, made a film called The Man Who Has A Camera in 1933 comprised of five sections: Liu’s family life in Xinying, Taiwanese processions, the scenery of Manchukuo and colonial Taiwan, modern girls and parades in Guangdong, and modern Tokyo. The places featured almost entirely overlap with Japanese colonies, except that Shanghai - which is known as the largest city in East Asia–is not among them. Current research ignores the connection between the film and the Showa period in Japan. Liu Na’ou, who grew up during the Taisho period, experienced the transition to the Showa era, in which Japan invaded and occupied various regions in East Asia. He witnessed the war, and also saw the "erotic", "grotesque" and "nonsense" modern culture that emerged and became prominent during the 1930s. Therefore, this article reconsiders of the transition from Taisho to the Showa era, and the feelings of the Japaneseoccupied Taiwanese in the face of the changing situation in East Asia as its focus. This study explores the relationship between 1930s and Liu’s imagination of East Asia, including the perspectives in the film that were influenced by the situation in East Asia, the local narrative presented by the landscape, and its negotiation with Showa culture, as well as with emerging literature and art. In order to examine how Liu Na’ou's East Asian imagination responds to his concern for "transcending politics" and "reflecting tomorrow's society", this article includes key aspects that have been previously under-analyzed by other researchers. |