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來源文獻資料
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引文資料
題名:
Colonial Reminiscence, Japanophilia Trend, and Taiwanese Grassroots Imagination in Cape No. 7
書刊名:
Concentric: Literary and Cultural Studies
作者:
Chang, Ivy I-chu
出版日期:
2010
卷期:
36:1
頁次:
頁79-117
主題關鍵詞:
Taiwanese cinema
;
Cape No. 7
;
Transnational
;
Japan
;
Colonial
;
Postmodern
;
Grassroots
;
Imagination
原始連結:
連回原系統網址
相關次數:
被引用次數:期刊(
5
) 博士論文(0) 專書(0) 專書論文(
1
)
排除自我引用:
5
共同引用:0
點閱:29
In just two months after its debut in theaters on August 23, 2008, Cape No. 7 (海角七號) generated a whopping 450 million NTD in box office sales, pulling the Taiwanese cinema market out of the slump it had been stuck in for so long. This film brought adolescents which had nearly abandoned the Taiwanese cinema scene flocking back to the theaters. From August to October, viewing Cape No. 7 became a national pastime for web citizens.
This paper will investigate the film and its social and cultural phenomena from three directions: First, the cultural transference between Taiwan's Colonial Reminiscence and the Japanophilia Trend in the wake of glocalization. If we said that Cape's cultural phenomena and trend are due to the interactive course and a cultural imagination stirred up by complementary works in and out of the movie, rousing the furthest depths of the Taiwanese unconscious, we should try to enlarge the scope of space-time and investigate the following under a globalization frame: how does director Wei De-Sheng utilize cinematic symbols to link together the Taiwanese older generation's nostalgia, the younger generation's fetishes, and Japanophilia? How do we illustrate the complex cultural ambivalence present between Taiwan and ex-colonizing nation Japan through film symbols and camerawork that belong in a post-modern time-space compressed environment?
Second, post-modern simulacrum and the cultural phenomena of Cape No. 7. From the viewpoint of cultural production in the wake of glocalization, we can see from the marketing strategies or the social and cultural effects Cape evoked after its release that there is a separate meta-narrative out of the film, and we can discuss: (1) how do the director and his production crew manipulate historical memories, local grassroots force, and story-telling skills through simulacrum logic to create a historical and anthropological space, turning "history" into a nostalgic object and cultural fetish? (2) How can the fictional movie plot be interwoven with the non-fictional local people and events, combining movie sets and actual scenery to encourage Hengchun's local cultural imagination, reinventing Hengchun's local particularities and symbolic meaning?
Third, an open, tolerant, multi-dimensional grassroots imagination as an emancipatory power in a place-based transnational social sphere. If we view "re-discovering" Hengchun trend ignited by the intertextuality between the film and its context as a quest for "Taiwanesenes," we might find that there is no such thing as a "genuine" Taiwaneseness, because Taiwaneseness has already been mixed with American, Japanese, Chinese, and several other aborigine tribal genes. The quest for "Taiwaneseness" cannot be separated from Europe-American modernity and capitalism-centered globalization. Is it possible to propose a new way of imagining modern nation as the more complex transnational landscape and to move the monolithic narrative from the nationalist boundary to the "place-based transnational spheres" of social life? Looking at the film and its context from a viewpoint of Taiwaneseness in the wake of glocalization, the time-space scope of Taiwanese grassroots imagination can also be expanded. In the glocalization process, the mixed cultural genes of each different stage of modernization in Taiwan can be thought over and new groupings of ethnic groups and cultural inheritance can be reconsidered, so that we can overcome the binary divisions of Japanese love/hate, unification/independence, and north/south. As the political ideology confronts and turns to stink into social life, the collective grassroots imagination works its way from the bottom-up and remodels a community that "accepts others and appreciates diversity." In the place-based transnational social sphere where we encounter the colonial reminiscence and the emergent ethnicities, myriad stories can be told through the memories, narrations, and desire in the course of individual, and the marginalized people can be included in the collective grassroots imagination in designing diverse modes of identification and living.
以文找文
期刊論文
1.
Ou, Su-Ying(2004)。The repatriation of the Japanese in Taiwan in the early post-war period。Academia Historica,3,201-27。
2.
Wang, Fu-chang(1996)。Consensus Mobilization of the Political Opposition in Taiwan: Comparing Two Waves of Challenges, 1979-1989。Taiwan Political Science Review,1,129-209。
3.
Wei, Zhengtong(1991)。Cultural Crisis or Cultural Transformation?。Zhongguo Luntan,31(8),97-102。
4.
Smith, Anthony D.(1984)。National Identity and Myth of Ethnic Descent。Research in Social Movements Conflicts and Change,7,95-130。
5.
Appadurai, Arjun(2000)。Grassroots Globalization and the Research Imagination。Public Culture,12(1),1-20。
圖書
1.
Chen, Ru-shou, Robert、Pocheng, Lou(1993)。Historical and Cultural Experience in Taiwan New Cinema。Taipei:Wan Hsiang Publications。
2.
Harvey, David(1990)。The Condition of Post Modernity。Oxford:Basil Blackwell。
3.
Hobsbawn, Eric J.(1990)。Nations and Nationalism Since 1789。Cambridge:Cambridge UP。
4.
Qiu, Chu-Wened(2003)。Japanese Popular Culture in Taiwan and Asia。Taipei:Yuan-Liu。
5.
Tomlinso, John、馮建三(1994)。Cultural Imperialism。Taipei:Times。
6.
Jameson, Fredric、Hardt, Michael、Weeks, Kathi(2000)。The Jameson Reader。Blackwell。
7.
King, Anthony D.(1997)。Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity。Minneapolis:U of Minnesota P。
8.
King, Anthony(1995)。Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity。Minneapolis:U of Minnesota。
9.
Augé, Marc、Howe, John(1995)。Non-Places: Introduction to an Anthropology of Supermodernity。Verso。
10.
McClintock, Anne、Mufti, Aamir、Shohat, Ella(1997)。Dangerous Liaisons: Gender, Nation, and Postcolonial Perspectives。Minneapolis:University of Minnesota Press。
11.
Tomlinson, John(1999)。Globalization and Culture。Polity Press。
12.
張靄珠(1998)。Remapping Memories and Public Space: Taiwan’s Theater of Action in the Opposition Movement and Social Movements (1986 to 1997)。臺北:書林。
13.
Anderson, Benedict(1991)。Imagined Communities: Reflections on the Origin and Spread of Nationalism。Verso。
其他
1.
舒國治(20081001)。為什麼全台瘋《海角七號》?。
延伸查詢
2.
宋耀光(20081028)。友子阿嬤家辦桌,邀影迷同樂。
延伸查詢
3.
陳立,平客(20081030)。《海角七號》喜歡,還是非常喜歡?,http://www1.nanfangdaily.com.cn/b5/www.nanfangdaily.com.cn/epaper/nfzm/content/20081030/ArticelD21002FM.htm。
延伸查詢
4.
廖學賢(20081020)。海角七號本尊,丁滄源送信四十年,http://news.cts.com.tw/cts/entertain/200810/200810200255009.htm。
延伸查詢
5.
王鴻國(20081015)。海角七號熱賣,吳念真:民眾情緒找到出口,http://au.epochtimes.com/b5/8/10/15/n2297759.htm。
延伸查詢
6.
曾虹雯,鄭兆祐(20080825)。海角七號紅,「馬拉桑」賣到缺貨,http://news.sina.com.tw/article/20080925/890562.html。
延伸查詢
7.
張靜茹(20081009)。海角七號扣人心弦,邱若龍考究歷史功不可沒,http://www.epochtimes.com.au/b5/8/10/9/n2291269.htm。
延伸查詢
8.
Chen, Zongyi(20081016)。Cape No. 7 is Very Taiwanese, Soothes Upset Localists。
9.
Zhang, Qianwei(20081016)。Cape No. 7, Seems to Be Our Story。
10.
藍祖蔚(20080913)。海角七號:少年魏德聖─藍祖蔚專訪魏德聖。
延伸查詢
11.
Munch(20080916)。《海角七號》沒說的事─恆春半島的現代實景。
延伸查詢
12.
Wikipedia contributors(20100416)。Heidenröslein 2010/04/16。
13.
蔡宗憲(20081016)。三千封寄到「海角七號」,累壞真「茂伯」。
延伸查詢
14.
葉永騫(20081026)。屏東客運帶你去海角七號景點。
延伸查詢
15.
鄒念祖(20081021)。琉璃珠+海角=版權,可製珠勿擅用名號。
延伸查詢
16.
楊祐彰(20081028)。為海角紀念戳─「海角七番地」逾八千封信件擠爆,http://www.nownews.com/2008/10/28/11472-2356691.htm。
延伸查詢
17.
孫瑞穗(20080926)。開放的本土想像。
延伸查詢
18.
畢恆達(20081002)。看海角七號--聽野玫瑰釋放和解。
延伸查詢
19.
陳宜中(20081009)。《海角七號》的台日苦戀 2014/04/20。
延伸查詢
20.
許介鱗(20080925)。海角七號:殖民地次文化陰影。
延伸查詢
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