民主化與轉型正義─臺、韓電影中的威權體制再現（1994-2019）
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2023
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同樣經歷獨裁政權統治，臺灣與韓國也在民主化後各自面對「轉型正義」與「過去清算」的課題。從90年代開始，此一題材逐漸反映在屬於大眾文化的電影上。從影視史學角度來看，我們發現被視作娛樂的影像也同時具備歷史詮釋的功能，而臺韓兩國白色恐怖電影試圖再現過去的威權體制時，除了內容本身，敘事結構也受到各自歷史事實的影響。 本文旨在分析臺灣與韓國數部白色恐怖電影的敘事結構，並以「威權體制性質」、「轉型正義」等面向，來探討電影的詮釋差異與其民主化經驗的關聯性。民主轉型經驗的差異，造成臺韓兩國在面對政治迫害時，有不同的回應方式，本文在電影詮釋方面也發現了類似的現象：《返校》與《正義辯護人》中，詮釋國家箝制言論自由的議題時，《返校》再現出師生面對威權體制的被動，《正義辯護人》則以對抗作為敘事主軸。同樣使用倒敘法呼應「轉型正義」、「彌補過錯」的主題時，《超級大國民》以麥卡錫主義氛圍下，出賣友人的「告密者」角度出發，《薄荷糖》則以體制中的「加害者」為主角，敘述平庸的邪惡如何崩潰。相對於韓國直述加害者，台灣則取用了同樣具受害者身分的告密者來再現。
Both once ruled by dictatorial government, Taiwan and South Korea are also facing the issues of"transitional justice" after democratization. Since the 1990s, this topic has gradually been remaked in movies. From the perspective of historiophoty, we can find that images regarded as entertainment also have the function of historical representation. When movies of transitional justice from Taiwan and South Korea try to represent the authoritarian systems, in addition to the content itself, the narrative structure is also affected by their historical experiences. This research analyzed thenarrative structure of several movies of transitional justice in Taiwan and South Korea, and discussed the connection between film representation differences and democratization experience of this two countries from the aspects of"authoritarian system " and "transitional justice". The difference of democratic transition has caused Taiwan and South Korea to represent each history differently in movies. This research also found that in " Detention " reproduces the passivity of teachers and students in the face of the authoritarian system, and " The Attorney "uses confrontation as the narrative axis. "Super Citizen Ko" starts from the perspective of "whistleblowers" who betray their friends in the atmosphere of McCarthyism;"Peppermint Candy" as the protagonist, narrates how the banal evil collapses. Compared with South Korea's direct reporting of the perpetrators, Taiwan uses the same informers as victims to represent.
Both once ruled by dictatorial government, Taiwan and South Korea are also facing the issues of"transitional justice" after democratization. Since the 1990s, this topic has gradually been remaked in movies. From the perspective of historiophoty, we can find that images regarded as entertainment also have the function of historical representation. When movies of transitional justice from Taiwan and South Korea try to represent the authoritarian systems, in addition to the content itself, the narrative structure is also affected by their historical experiences. This research analyzed thenarrative structure of several movies of transitional justice in Taiwan and South Korea, and discussed the connection between film representation differences and democratization experience of this two countries from the aspects of"authoritarian system " and "transitional justice". The difference of democratic transition has caused Taiwan and South Korea to represent each history differently in movies. This research also found that in " Detention " reproduces the passivity of teachers and students in the face of the authoritarian system, and " The Attorney "uses confrontation as the narrative axis. "Super Citizen Ko" starts from the perspective of "whistleblowers" who betray their friends in the atmosphere of McCarthyism;"Peppermint Candy" as the protagonist, narrates how the banal evil collapses. Compared with South Korea's direct reporting of the perpetrators, Taiwan uses the same informers as victims to represent.
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影視史學, 白色恐怖電影, 威權體制, 轉型正義, Historiophoty, The White Terror Period film, Authoritarianism, transitional justice