陳瑜

Yu Chen

國族性、國族電影、臺灣電影史、歷史書寫

historical writing, national cinema, national identity, Taiwan cinema

以歷史書寫方法重回1945年以前的臺灣日治社會，其認為臺灣 電影應從殖民時期、後殖民時代、現代化因素、全球化脈絡來觀看其 歷史，而非西方觀點所肯認的1980年代為初始。本文將該書分作「『跨國性』的國族意識」和「抗衡與折衝之後:『臺灣人』的國族認同」兩部分探究。後以「未能言明的臺灣電影與未來發展」帶出「後──新電影」和近年來臺灣典型電影的發展之可能性，藉以彌補現行主流之世界電影史之書籍未能言明的臺灣歷史論述之缺憾。

Through historical writing, Hong investigated Taiwan under Japan colonial rule before 1945. He believes that the history of Taiwanese film should consider the perspectives of the colonial era, the postcolonial era, modernization, and globalization, rather than that of the 1980s, which is recognized by the Western perspective.
The colonization and recolonization parts of this paper can be divided into two parts: “Cross-National Consciousness” and “After Counterbalances: National Identity of the Taiwanese.” Cross-National Consciousness discusses the colonial legacy of Japan and the prevailing Greater China consciousness; after Counterbalances discusses the effects of political factors and commercial markets. Finally, “post-new cinema” and the recent development of Taiwanese film are introduced in the Future of Taiwanese Film to compensate for the lack of historical discourse on Taiwan, which is absent from current mainstream history books on world film.