The Turn Of Colonial Memory About Japain In Taiwan Film:A Perspective Of Media Sociology(1987-2017)

The half-century of Japanese colonial rule has made a complex and lasting impact on the development of Taiwan society,and it also makes Taiwan’s colonial memory about Japan become an unavoidable element in Taiwan film.The presentation of the colonial memory in Taiwan film changed dramatically from anti-Japanese in the 1960s and 1970s to complicated attitude after 1987,even now film which is standing by Japan and highlighting "Taiwan consciousness" has become a part of the mainstream.Clarifying the turn of colonial memory about Japan in Taiwan film can help us understand the controversy and action of the local identity and the construction of ethnic values in Taiwan society,and also help us to explore the interaction between media and social development,which makes us pay attention to the film’s media characteristics,and help us get involved in the development and transformation of social reality through film.From the perspective of media sociology,combining with Mark Ferro’s "film and history" theory and colonial memory theory,this research systematically analyzes Taiwan films’ content about colonial memory about Japan in 1987-2017.This research takes the overall outlook of Taiwan society,politics,and culture as the context of the problem,and explores the theoretical relationship between film,colonial memory and identity,and systematically analyzes the diversified interpretation and ambiguous transformation of the Japanese-invasion history in film,which in order to reveal the change of colonial memory in the film,the development of Taiwan society,and the change of Taiwanese national identity.This paper reveals the interaction between the media and the social development,and finds the inner logical relationship between Film,Social Thought and Colonial Memory.This research is divided into the following parts:The first chapter is an introduction to the background,problems,literature,methods,perspectives and significance of the research.The second chapter establishes a theoretical framework for the analysis and criticizing.Firstly,the research defines the theory of film,colonial memory and identity,and clarifies the relationship between them.Secondly,the research outlines the social and cultural features of Taiwan under the post-colonial context and uses this as a basis to elucidate the interactive relationship between Taiwan’s image production and the colonial memory about Japan.The third chapter,from the diachronic point of view,combs the historical genealogy of the Japanese Colonial image in Taiwan film.In Taiwan’s martial law era,as a tool for the authoritarian rule of the Kuomintang,the colonial memory presented by Taiwan film is relatively consistent with political needs.Although several changes have taken place,Japanese colonialists in Taiwan film in this period are mostly in the negative image,and colonial memory about Japan presented are intertwined with bullying and resistance.After the lifting of martial law in 1987,Taiwan society is changing radically,and the film liberates from authoritarian rule.Starting from the New-Wave Film Movement,the colonial memory in Taiwan film turns to multiple perspectives.The fourth and fifth chapters,from the synchronic point of view,analyze four turns of the colonial memory in Taiwan film in 1987-2017.The third chapter finds that the narrative mode to reconstruct the historical memory in Taiwan films’ face with the dilemma of whether to avoid colonization or restore history:in perspective of the film theme,Taiwan film turns from the history of nation to individual life experience,so mass memory and daily life become the primary topics;in the perspective of film attitude,Taiwan film rediscovers the human character of Japanese colonialists,and the effect of modern enlightenment which is brought by Japan.The fourth chapter finds that some Taiwan films deliberately glorify and romanticize the Japanese colonial history,and the local films which emphasize the identity of Taiwan have been mainstream films.The reason is that Taiwanese are always in the anxiety of identity because of the struggle with the colonists,colonial ideas and a variety of foreign cultures.Thus,Taiwanese try to construct Taiwan subjective with racial,ethnic and national consciousness,and the colonial memory about Japan is the defining feature to distinguish.The sixth chapter rethinks the uncompleted historical period of the Taiwan society and the development of Taiwan’s film development,which is one of the most important reasons for the ambiguous colonial history of Japan in Taiwan society.Combined with the result we noted above and China’s national conditions,this research provides broader ideas for the development of Chinese film and cross straits relations.From above discussion,this research finds that the transformation and divergence in Taiwan film reflects the pursuit of identity and the construction of local social in Taiwan.On the one hand,film is an important medium to reflect colonial memory,but its image about Japanese-invasion period is restricted by the social environment and ideology,and is closely related to the political construction of Taiwan subjectivity by government.On the other hand,as the discourse system under power,Taiwan film shapes the historic recognition and national identity of people.