摘要
以祖先之名,大陆电影《红河谷》与台湾电影《赛德克·巴莱》讲述了主题相近的"少数民族反抗外国侵略者"故事,然而,在外来者/本地人、西方/东方等对立结构之下,二者视点的内外差异却有效指涉着海峡两岸文化语境之不同。"主旋律"依托于现代国家意识形态,因而《红河谷》需要时刻回应"汉族"的位置问题,汉人可以视觉缺席,却必须文化在场;相反,台湾本土意识由于缺少"现代国家"这一环,便可以将故事中有关"汉族"的表达空间压至最低,而魏德圣以部落头领莫那鲁道为中心的叙事形态也就显得十分"内部"。面对"大和解"的时代主流,回到人民大众历史记忆与情感结构的内部,或许是唯一的选择。
In the name of the ancestors, Red River Valley, a mainland Chinese film, and Seediq Bale, a Taiwan Residents film, tell stories of ＂how people of ethnic nationalities fight against the foreign invaders＂ with similar themes although, in such oppo- sitional structures as outsiders/locals and East/West, differences, inside and outside, between the two in points of view effectively refer to the differences of the cultural context between China's Mainland and Taiwan. As the ＂main rhythm＂ is reliant upon the modern ideology of state, Red River Valley has to frequently respond to the positioning of ＂the Han Nationality＂ , in which the Han people can be visually absent but must be culturally present. In contrast, thanks to the lack in Taiwan of the link of ＂modem state＂ in the native consciousness, the space of expression in the story has been compressed to a minimum in regard to ＂the Han Nationality,＂ with the result that Wei Te-Shen＇s narrative mode, centred upon Mona Ludao, the tribal leader, seems quite ＂inside＂. The only solution may possibly be a return to the inside of the historical memory of the masses and that of the emotional structure by facing the mainstream of our time, which is ＂the Great Reconciliation＂.
出处
《华文文学》
CSSCI
北大核心
2015年第1期110-114,共5页
Literatures in Chinese
关键词
视点
中间人物
第三世界
民族
和解
points of view, characters in the middle, the Third World, nationalities, reconciliation
