由於影視媒體拜科技無遠弗屆之賜，以影像再現邊緣弱勢族群應有的主體性遂成為不少有志之士所青睞的文化認同展演。若其影像再現足以扣動人心、獲得票房的肯定，間接反映出大眾文化認同的傾向或更迭。特別是在後殖民文化翻譯語境下，如此以影像再現原住民對自身主體性的訴求，進而凝聚想像主體性的共識、爭取自治，不但是散居全球各地第四世界原住民作家的文學使命，也是有感於弱勢族裔所承受欺壓而不平的藝術創作者的挑戰。為此，本文嘗試分析比較環太平洋地域的當代台美加原住民作家的文本，如何經過改編，透過螢幕呈現不同族群「想像主體性的重／建構」、其中的異同及所面臨的挑戰。將從跨文化視野切入，以紐西蘭著名作家威提‧伊希麥拉的《鯨騎士》改編電影、史圖特‧比隄與導演班茲‧路爾曼合編的《澳大利亞》及台灣魏德聖巨資導演的《賽德克‧巴萊》為例，探討影像中所呈現的是怎樣的文化認同？到底是原住民的？還是重╱建構的？而如是互動主體性的文化翻譯，即便在多元文化主義口號下得以在公眾場域中展演，但在新資本主義文化帝國以經濟、科技掛帥的全球化下，是否得以落實？若現實的落差仍隨處可見時，主要的社會問題為何？是否能啟發可行的解決之道？

This paper is an attempt to compare and analyze the contemporary cinematic representations of various indigenous people’s re/constructions of imaginary subjectivities, selected from the Pacific Rim, in terms of their similarities, differences, and imminent challenges. To explore the way the cultural identities are presented or transformed on screens and if the representations are the indigenous people’s, or re/constructed from a transcultural perspective, the selected texts as examples include: The Whale Rider adapted from a famous New Zealand writer Witi Ihimaera and directed by Niki Caro, Australiaby Stuart Beattie and BazLuhrman, and Seediq Bale, by De-sheng Wei. The issue that whether or not the cultural translation of the indigenous inter-subjectivities as represented or displayed in the public spheres can be acknowledged or materialized in our era of neo-capitalist cultural imperialism via capitals and high techs in the name of globalization will be also discussed. If the gaps between the imaginary and the real are still remarkable and undeniably, then what may be major social problems or what may be feasible solutions?