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後殖民主義下的 《1895》、《賽德克、巴萊》到《海角七號》徐智俊

Page history last edited by 徐智俊 8 years, 1 month ago

這三部片子微妙的闡釋連接了日本在台灣的殖民主義與後殖民主義,前期的反抗,中間的征服以及後期的合作。也點出身份認同(Identity)《1895》裡吳湯興認同清朝;《賽德克巴萊》中花岡一郎的矛盾。到了《海角七號》裡的台日愛戀。

      然而,更有趣的是,日本『後殖民主義』卻也是這三部電影的敘事基調。戲裡戲外,都有日本的資金和技術以及演員,這種氛圍是和『台灣80年代新電影』很不一樣,也可能和當時新聞局限制日本影視進入台灣受到壓抑有關。卻在21世紀後大量呈現。

 

     當然,《1895》和《賽德克巴萊》也是族群電影,《海角七號》何嘗不是呢?證明台灣電影正進入一個多元族群的新觀點。

1895 trailer http://www.wretch.cc/blog/themovie1895/12433031

 

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