타이완 원주민을 재현하는 세 가지 방식

Abstract

This paper analyses three Taiwanese aboriginal films: Everlasting Moments by Chen Wenbin (released in April 2011), Warriors of the Rainbow: Seediq Bale by Wei Desheng (September 2011), and Finding Sayun by Laha Mebow (November 2011). Even though they were released at about the same time and have in common Taiwanese aborigines as main characters, each film differs in terms of how to represent them as a minority in Taiwan. As critiques of the stereotypical ‘othering’ representations of Taiwanese aborigines, the films focus on restoring their thoughts and souls, manners and traditions, and their current situations, in keeping with the social climate that promotes the reinstatement of Taiwanese aboriginal rights. However, how each of the films constructs the ‘native-ness’ is complicated and deserves much attention. While the aboriginal identity is manifested as a symbol of anti-capitalism in Everlasting Moments, it is re-contextualized or even mystified as a display of Taiwanese native-ness in Warriors of the Rainbow: Seediq Bale. Lastly, in Finding Sayun, the main character, Sayun, demonstrates various ways of living, or various ‘Sayuns’, while searching for the truth of the legendary Sayun’s bell, including a patriot in the period of Japanese colonization, a Japanese collaborator in the cold war period, and a passionate lover who was in a romantic relationship with a Japanese teacher in the 1990s.