1970年代抗日電影中的國族建構──鐵路、通俗劇形式與歷史書寫

Nation Building in 1970s’Anti-Japanese Films: Railway, Melodrama, and Historiography

1970年代，台灣面臨一連串國際外交上的打擊，其中，1972年的台日斷交更帶給當時的國民黨政府莫大衝擊。回應政府的挫敗，台灣電影工業也因此開啟一波抗日政宣片的拍攝。當時的抗日政宣片大多以日本侵華時的戰役為背景（1937-1945），1970年代後期也開始有越來越多日治時期台灣民眾投入抗日的故事出現。這些作品一方面宣洩台日斷交所帶來的悲憤情緒；另一方面則宣揚了戰後國民黨的國族主義。本研究以1970年代台灣抗日電影中的鐵道和通俗劇形式作為新的觀看方式，重新省視當時抗日政宣片中的歷史重譯與愛國敘事。以陳俊良的《春寒》（1979）和張佩成的《密密相思林》（1977）為例，本研究分析1970年代抗日電影如何詮釋日治時期的火車形象（trope），淡化日本在台灣現代化發展中的地位。另一方面，本研究深入探討電影如何結合冷機械（火車）與熱感情（通俗劇），將火車化作為召喚愛國情懷和喚起個人記憶的敘事工具與符碼，進一步強化島嶼內部的國族認同感。

In the 1970s, Taiwan faced a series of diplomatic setbacks and was particularly affected by Japan’s decision to break its ties with the Kuomintang (KMT) government in 1972. Fueled by frustration over this decision, the local film industry produced a series of anti-Japanese films throughout the following decade. Most of these films drew from the historical record of China’s eight-year of resistance (1937–1945); several from the late 1970s adapted stories about the Taiwanese people’s resistance during the colonial period. These films gave vent to the frustration caused by Japan’s diplomatic betrayal, as well as promoted the KMT government’s postwar nationalism. By focusing on the use of melodrama and the trope of railways, this study examines the reinterpretation of history and the patriotic narrative in anti-Japanese films from the 1970s from a new perspective. Drawing on films such as Chen Chun-Liang’s Love in Chilly Spring (1979) and Chang Pei-Cheng’s My Sweet Memory (1977) as examples, this work analyzes the ways in which films de-emphasize Japan’s role in the modernization of Taiwan by re-interpreting the railways trope from the colonial period. It also explores how these propaganda films combine“the cold machine”(train) with“the hot emotions”(melodrama). Using the railways trope as a narrative tool to trigger nationalist sentiments and personal memories, these anti-Japanese films reinforce nationalist identity within the island in the 1970s.