台灣電影中的國族想像：《國族音影：書寫台灣．電影史》的史觀重構

Abstract

在世界電影史上，台灣電影向來面臨著被缺席及窄化危機。Thompson & &Bordwell（1998）在《電影百年發展史》（Film History: An Introduction）書中指稱台灣電影到1986年才臻於成熟，於此之前的電影藝術發展不值一提，而Sklar（2001）《電影世界史》（A World History of Film）書中將台灣電影定位於中國電影子類型。在美國杜克大學洪國鈞副教授（2018）出版的《國族音影：書寫台灣．電影史》（Taiwan Cinema: A Contested Nation on Screen）書中，試圖以「國族」（Nationalism）的框架，重新建構對台灣電影史的歷史定位，並挑戰被西方學者典範邊緣化的史觀，他的書不僅彰顯台灣電影的在地特色，也將國族電影視為抵禦好萊塢支配之手段，此外，透過本書對台灣電影史的梳理，也呈現出「國族性」在歷史變動下的動態關係。

In the history of world cinema, Taiwan cinema faces a crisis of being absent and narrowed. Thompson & Bordwell`s Film History: An Introduction (1998) claimed that Taiwan cinema became matured until 1986, and before that Taiwan was not a source of innovative filmmaking. Sklar`s A World History of Film (2001) puts Taiwan cinema under the sub-genre of China cinema. Hong, G, the associate professor of Chinese Literature and Culture at Duke University published the book, ＂Taiwan Cinema: A Contested Nation on Screen,＂ (2018) focus on refuting the marginalized writings of Western canonic texts, and reconstructing the history of Taiwan Cinema. He attempts to reconstruct the imagination of Taiwan cinema history in the framework of ＂Nationalism＂ and challenges the biased views of Western film historians who marginalized Taiwan cinema`s historical positioning and contributions. Taiwanese national cinema not only shows unique local characteristics, but also has been regarded as means to resist the domination of Hollywood films. By examining the history of Taiwan cinema, this book also demonstrates the dynamic relationship of ＂nationality＂ under historical changes.