後冷戰的情感化敘事與國族化身體──以《太平輪》「華」的共同體協力與「台籍日本兵」演繹為例

Emotional Narratives and Nationalized Bodies in the Post-Cold War Era: A Case Study of the“Chinese”Community and the Representation of“Taiwanese-Japanese Soldiers”in The Crossing

本文將以吳宇森導演的《太平輪》（2014、2015）為分析對象，描繪在後冷戰處境與歷史敘述下，黨國框架及其建構過程時的國族想像、身體再現與情感動員。作為一跨國合拍片的文本表述，依然必須面對在「中國崛起」的論述與審查背景中，成為一種衍生型態與姿態；而這些對「他者」的抹除與差別的待遇，在內部的詮釋操作下，又隱含著暴力的構築。其文本不僅處理了二戰與冷戰的歷史耦合，透過視覺化戰爭過程，視覺化了國族暴力；也涉及了後冷戰與全球化的種種二元劃分與遺緒。藉由過去較為缺漏的「國民黨」視角，處理了日本殖民到白色恐怖前夕的「戰爭之框」，並提供了對冷戰與後冷戰國族意識形態的一種觀察。我將試圖深入析論，在一個被建構出來的國族認同框架下，《太平輪》透過了什麼樣的情感化敘事與修辭策略，來中介與強化如此「華」的共同體？如何展演在「主旋律」電影與主流「中國敘事」之下的創傷事件？而文本中的角色，尤其「台籍日本兵」的演繹，如何被策略性與符號化地再現，使其既可能被描繪成台灣身分的表徵，又可能被重新納入「華」的共同體敘事裡？最後，這些國族化的身體，如何被塑造為國家體制內的受創傷主體？

This paper examines John Woo’s The Crossing (2014, 2015) to explore national imagination, bodily representation, and emotional mobilization within the framework of party-state narratives and their construction processes, set against the backdrop of post-Cold War contexts and historical storytelling. As a transnational co-production, the film’s textual representation must navigate the discourse and scrutiny surrounding“China Rising,”functioning as a derivative posture and modality. These dynamics involve the erasure and differential treatment of the“Other,”which, through internal interpretive mechanisms, reveal the underlying construction of systemic violence. The film addresses the historical entanglements of the Second World War and the Cold War, visualizing national violence through depictions of warfare. It also engages with the dichotomies and enduring legacies of post-Cold War globalization. By adopting a perspective centered on the“Kuomintang”—a viewpoint often underexplored—it examines the ''frame of war”stretching from Japanese colonization to the eve of the White Terror, offering critical insights into the ideological constructs of nationalism during both the Cold War and post-Cold War periods. This research seeks to delve into the emotional narratives and rhetorical strategies that mediate and reinforce the constructed framework of national identity. How does The Crossing use such strategies to construct and strengthen a“Chinese”community? How does it portray traumatic events within the confines of“main melody”cinema and dominant“Chinese narratives”? Furthermore, how are characters—particularly the“Taiwanese-Japanese soldiers”—strategically and symbolically represented, allowing them to function both as markers of Taiwanese identity and as components of the broader“Chinese”narrative? Finally, how are these nationalized bodies shaped into traumatized subjects within the framework of the state system?