探索台灣電影中的日本性
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2011/08-2013/07
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Abstract
本研究緣起於《海角七號》引發的「媚日」爭議，以及「台製日式」廣告的風起雲湧， 進而反思哈日、親日、戀日等意涵，與台灣（後）殖民經驗的歷史關連。研究發現，哈 日已經高度滲入台灣文化語境中，再透過大眾媒介推波助瀾，進而在台灣人的日常生活 實踐中，形成無所不在的日本性。 本研究因此聚焦於近30 年來台灣電影，試圖探求日本性在台灣電影中的展現情景與滲 透程度。除了透過文本分析與內容分析法，建構電影中日本性類目與圖譜外，並將針對 電影產製端與接收端進行深度訪談與焦點團體，檢視日本性是否已然形成感知結構，成 為當代台灣文化主體性的一環。
The study originated from the so-called “Japan-pampering” controversy surrounding the film Cape No. 7 and the popularity of Taiwan-made ads with Japanese flavors. It has to do with the entangled (post-)colonial relationship between Japan and Taiwan from the past century. This study finds that the cultural practices in Taiwan have been permeated by the concept of ‘Japaneseness’. The colonial shadow of Japan never leaves Taiwan, no matter whether one looks at it as a good sign or an omen. The purpose of this study is to investigate the ‘Japaneseness’ in Taiwan cinema for the past 30 years. It will adopt methods of textual analysis and content analysis in order to build up categories and schema of ‘Japaneseness’ in Taiwanese films. On the other hand, in-depth interview and focus group discussion will be employed to study film professionals as well as audience, so as to determine if the idea of ‘Japaneseness’ has been transformed into a structure of feeling, which, therefore, has become a part of Taiwan subjectivity.
The study originated from the so-called “Japan-pampering” controversy surrounding the film Cape No. 7 and the popularity of Taiwan-made ads with Japanese flavors. It has to do with the entangled (post-)colonial relationship between Japan and Taiwan from the past century. This study finds that the cultural practices in Taiwan have been permeated by the concept of ‘Japaneseness’. The colonial shadow of Japan never leaves Taiwan, no matter whether one looks at it as a good sign or an omen. The purpose of this study is to investigate the ‘Japaneseness’ in Taiwan cinema for the past 30 years. It will adopt methods of textual analysis and content analysis in order to build up categories and schema of ‘Japaneseness’ in Taiwanese films. On the other hand, in-depth interview and focus group discussion will be employed to study film professionals as well as audience, so as to determine if the idea of ‘Japaneseness’ has been transformed into a structure of feeling, which, therefore, has become a part of Taiwan subjectivity.