台湾新电影三十年:乡土与本土的纠结

作为20世纪80年代以来台湾地区最具代表性的文化现象,新电影表征了当代台湾社会思潮的巨大转向:由乡土转为本土,由中华认同转为台湾认同。反帝反压迫、反思殖民现代性等批判性向度,是早期台湾新电影的乡土意识的主要内容;而继起的本土意识则失去了乡土意识的开放性与批判性,其以族群对立、省籍区隔为基础的电影叙事,反映了一种"反外省"、"去中国化"的台湾民族主义意识形态。乡土与本土是重估台湾新电影的两个重要概念,它们分别代表了两种不同的思想类型、身份认同及国族想象,二者在台湾新电影中的对立纠结,也显示了"中国结"与"台湾结"在当代台湾社会之差异互现的结构性在场。

Thirty Years of New Taiwanese Cinema: Rural and Local Consciousness Intertwined

As the most representative cultural phenomenon in Taiwan since the 1980s,the "new movie" has shown a great turning point in the ideological trend of contemporary Taiwanese society: from rural to local consciousness and from identification of China to that of Taiwan.Anti-imperialism,anti-oppression and reflection of colonial modernity and other critical dimensions were the main content of the rural consciousness of the early stage of the new Taiwanese movie while the succeeding local consciousness then lost its openness and criticism of the rural consciousness.The narration of the films that took ethnic conflict and provincial division as a basis reflected a kind of pattern of Taiwanese nationalist consciousness that is anti-provincial and opposes sinicization.Ruralism and localness are two important concepts of re-evaluating the new Taiwanese cinema.They represent respectively two different kinds of thought,identity and national imagination.The opposing intertwinement of the two concepts in the new Taiwanese cinema also shows the differences in mutual structural existence between "China knot" and "Taiwan knot" in contemporary Taiwanese society.