本文擬就兩部1990 年代台灣電影：黃明川《西部來的人》、萬仁《超級公 民》，探討原住民「他者」如何在漢人導演鏡頭底下成為漢人族群建構身分認 同的媒介，同時又如何折射漢人族群身分認同的焦慮與挫敗，這些焦慮與挫敗 實乃1990 年代台灣社會漢人集體心靈的寫照，一個通過原住民「他者」而顯 影的漢人心靈圖像。

This article is to explore two films of 1990s “The Man from West Island” directed by Huang Ming Chung and “Connecting by Fate” directed by Wan Jen in which how the two Han directors through camera used aborigines of being “others” as medium to construct their ethnic identity. Meanwhile, how the medium was used to reflect Han people’s anxiety and setback in ethic identity is also explored. The anxiety and setback, as a matter of fact, mirrored Han people’s collective state of mind in the Taiwan society of 1990s—namely that a Han people’s mental image reflecting through aborigines of being “others”.