試論戰後臺灣關於霧社事件的詮釋China Review International/《臺灣與海洋亞洲研究通訊 霧社事件專號'Warriors of the Rainbow' star》

http://homepage.ntu.edu.tw/~history/public_html/09newsletter/10/10-12-2.html

臺大歷史系講論會 試論戰後臺灣關於霧社事件的詮釋

周婉窈教授主講

霧社事件發生於1930年10月27日，延續近兩個月，導致參與起事的六社族人幾乎舉族滅絕，餘生者遭遷徙至他地。關於霧社事件的書寫、論述和研究，從戰後到現在有很大的變化，是不同群體、不同世代、不同部落（和性別），及其和不同的政治、社會、文化條件交錯的結果。 根據日方的分析，霧社事件的起因可歸納為三點：一、勞役剝削問題，二、原住民與日人婚姻問題，三、馬 赫坡社頭目的不滿。究實而言，這些只是近因，霧社諸社之所以蜂起抗暴，應該考慮到更根本的因素，如日本人侵入原本自成世界的賽德克族領域，沒收族人狩獵用 槍枝，駐守在部落的日警取代原部落頭目的地位，導致固有的傳統慣習律法（gaya）遭到空前未有的嚴重破壞。 戰後關於霧社事件的詮釋可分為四個階段。首先是抗日民族主義下的霧社事件。劉枝萬是戰後根據大量日文 文獻來書寫霧社事件的第一位學者，他將該事件定位於「近代革命」和「山胞抗日史」。陳渠川以文學筆法書寫霧社事件，將之定位為中華民族主義的抗日壯舉。戴 國煇編著的研究與資料集出版於1981年，集當時日文研究之大成，但基本上，他是在中國少數民族的大架構中思考霧社事件。 其次是來自學院外的「他者」的內部視野。1980年代以後，戰後出生並且能夠用中文充分表達思想和感 情的臺灣本地漢人，開始以新觀點來詮釋霧社事件。鄧相揚以報導文學的方式，先後出版圖文並茂的三本書。邱若龍則從賽德克族耆老的訪談和田野調查入手，繪製 霧社事件漫畫書。舞鶴兩度在清流部落租屋居住，以小說筆法寫出《餘生》。 第三，餘生菁英的霧社事件。1960年代初期，兩位日本女士來臺調查霧社事件，訪問事件餘生者，寫成 長文，刊登於日本的雜誌。1980年代，霧社事件餘生者菁英高愛德（Awi Hepah）與高永清（Pihu Walis、中山清），分別出版日文回憶錄。兩人在事件發生時年僅14歲左右，他們在戰後擔任要職，成為該事件的主要代言人。 第四，從「部落觀點」、gaya，以及「歷史的和解」入手的書寫。2000年前後，開始出現從賽德克 族內部觀點出發的論著，如Siyac Nabu（高德明）以賽德克族語發表論文，從「gaya Sediq」（賽德克傳統律法）的角度來思考霧社事件。2004年Kumu Tapas出版以口述採訪之資料為基礎的著作，特別強調女性觀點。近十年來，六社餘生者的後裔，如Takun Walis（邱建堂）和Dakis Pawan（郭明正）等人，也開始積極思索族人的歷史，致力於保存族群文化和部落記憶。 在霧社事件屆滿八十年的此刻，我們似乎站在歷史的分界點，看到從內部了解霧社事件的可能，也看到賽德克族人和解的可能。今天我們已然邁入一個可以期待一部或多部霧社事件的精彩作品的時代。

'Warriors of the Rainbow' star: From minister to leading man

April 28, 2012 |  9:01 am

 

1

Lin Ching-Tai is a man of peace, a 52-year-old Presbyterian minister in Taiwan. But for the epic action film “Warriors of the Rainbow: Seediq Bale,” he traded his vestments for tattoos and a fake scar, transforming into Taiwan's legendary aboriginal chief, Mouna Rudo, who led a bloody rebellion against Japanese colonizers of the island in 1930.
“Mouna is a dark, melancholy character,” Lin said during a recent visit to Los Angeles, speaking in Chinese. “As a child, he saw how the Japanese suppressed his people, and the desire for rebellion grew in him.” Even though he had never acted before, Lin said he found the lead role easy to assume because “Mouna’s character is my character, before I was 26.”
The brainchild of director Wei Te-Sheng, “Warriors” was produced for $25 million, the most ever for a Taiwanese-made film, and released there in two parts totaling 4½ hours. For its world premiere at the Venice International Film Festival last September, he prepared a 2½-hour cut, and it is that version that opened in Los Angeles on Friday. Much of the film is carried by Lin, who has the brooding eyes and craggy countenance of a man who has done a lot of hard living.
The film tells the story of the Wushe Incident, the largest — and last — uprising against the Japanese by the island's aboriginal inhabitants. Taiwan had been ceded to Japan by China in 1895 in the Treaty of Shimonoseki. The Seediq tribe was forced to give up its sovereignty and to work for the Japanese at menial wages.
Getting the project off the ground proved a tough sell, even though Wei’s first film, the romantic comedy “Cape No. 7,” was a runaway hit in 2008. It didn’t help that he intended to cast unknowns with aboriginal backgrounds, and to use dialogue in Seediq, a language now spoken by only about 1,000 people. Even with seed money from the Taiwanese government, he spent five years raising funds. John Woo came on as a producer, but Wei said that in the end he borrowed most of the money.

Under the Japanese news of the Wushe Incident was suppressed, and to this day the facts remain spotty. Wei, who also wrote the script, conducted research and even met a couple of Seediq tribe members who had been alive during that time. “Of course they were only small children then,” he said. “Even though so much time has passed, they’re still afraid to talk about it.” The Japanese produced detailed accounts of the uprising. In October 1930, some 300 aboriginal warriors from six villages attacked the Japanese during a sporting event, killing about 130 of them. In retaliation, the Japanese sent in more than 2,000 troops, then planes to drop bombs and tear gas. Two months later the rebellion was quelled, with more than 600 Seediq, including women and children, killed or having committed suicide.
“But of course the Japanese told it from their point of view,” Wei said. So, for the script, Wei said he had to find his own truths, such as in one scene where a group of tribal women take their own lives.
“For example, the suicide of the women — the Japanese say the Seediq men forced them to do so,” Wei said, “whereas I show it as a willing act, an act of honor to escape capture by the enemy.”
During pre-production, Wei met Lin at his home village of Nanao. Lin is not a member of the Seediq tribal group but a different one, the Ataya.
“He looked just right. Everything about him was right for the part,” the director said. “I asked him to play Mouna.” Lin, who had never thought about being in the movies, hesitated. “Then so many of my friends and colleagues who’d heard about the project said to me, ‘You should get involved. You should play this role,’ ” he recalled.
Lin said he related to Mouna’s struggle because it paralleled his own. He grew up speaking the Ataya language at home and still does. When he attended primary school, he was forced to learn and speak Mandarin Chinese, which he resented. (At the end of World War II, Japan surrendered Taiwan to Chinese forces.)
The ethnic Chinese students and teachers “looked down on us,” Lin recalled. “They would insult us, pick fights with us. Yes, I got into some fights.” Admittedly, he wasn’t much of a student, and took up some bad habits, like smoking and drinking — a lot of drinking.
Finally, when he was 26, his sister talked him into attending seminary. “She said to me, ‘You’re not doing anything else in your life,’ ” he said. Their parents had been ministers, so it wasn’t a totally out-of-the-blue suggestion. It took 10 years to get through seminary, but little by little, Lin said, “I began to examine my life, how to change myself and my thinking. I learned how to serve others.”
By all accounts, the “Warriors” shoot was a grueling one. For Lin, the most difficult part was learning the Seediq dialogue. Although Seediq culture is close to his own the language is not, so he had to memorize all his lines. “I was learning as we were shooting,” he said. (“Seediq Bale” means "real Seediq," that is, a real man; for the tribesmen, this meant hunting, cutting the heads off enemies and otherwise proving one's macho.)
Six months of scheduled shooting stretched into 10 because of the complexities of the action sequences and filming in mountains and rain forests. But on set, Lin proved a natural leader and became spokesman for the other aboriginal actors who had been recruited. “After all, I was a minister, and I was Mouna Rudo,” he said with a smile.
The cast put up with late paychecks and stunt injuries because there was something larger at stake. “We became like a family,” Lin said. “We began to share the feeling that the movie wasn’t the director’s film. It’s became our film, our story.”

2012年2月5日 在臺灣大學文學院 "拾得" 下列書 (印象)


China Review International (MUSE, ToCs via )
Reviews of Scholarly Literature in Chinese Studies 中國研究書評
1997-1999 約10本
這本季刊的編輯是每期數篇(10以下)主題書評 再加上數十篇邀請的書評

從這本刊物後面的廣告可知澳洲 英國 香港(譯叢 Rendition) 還有另三本英文的中國學 刊物

通訊第五期封面。

Dear網友：

《臺灣與海洋亞洲研究通訊》（霧社事件專號）第五期已於去年年底出版。這一期收錄本部落格刊載的霧社事件相關文章，共92頁，比前四期厚很多。由於經費有限，發行數量不多，我們保留二十本，想贈送給網友。另外，第三期通訊，由於曾加印，目前還有剩餘，也歡迎一併索取（封面與目次頁附於後）。有興趣的網友煩請寫信給蔡偉娟小姐，郵址：wjtsai@ntu.edu.tw，請注明您想索取《臺灣與海洋亞洲研究通訊》（1）第三期，（2）第五期，或（3）第三和第五期，並請留下通訊地址。我們將於年後彙整後，一起寄送。

感謝各位網友過去一年來的支持，在此謹祝

新年平安如意！

周婉窈 敬上

2012年元月20日

　《臺灣與海洋亞洲研究通訊》（霧社事件專號）．第五期

• 《臺灣與海洋亞洲研究通訊》（霧社事件專號）．第五期，2011年12月出版
• 卷頭語／周婉窈
  霧社事件相關論著
  英雄、英雄崇拜及其反命題／周婉窈
  《霧社事件101問》選刊 ／Takun Walis、Dakis Pawan莫那魯道遺骸歸葬霧社始末／吳俊瑩
  1902．人止關之役／吳俊瑩
  資料選刊
  訣別的悲劇／高彩雲口述．高永清記錄．潘美信譯
  我（彩雲）的回憶／高彩雲口述．高永清記錄． 郭珮 君譯　
  附錄： 高彩雲 女士口述紀錄中的人物關係簡介／周婉窈
  活動報導與紀錄
  川中島．清流部落的記憶－－霧社事件八十周年紀念座談會（上半場）／周馥儀、陳育麒整理
  川中島．清流部落的記憶－－霧社事件八十周年紀念座談會（下半場）／周馥儀、陳育麒、陳慧先整理
  臺大歷史系學會史週影展：電影《賽德克．巴萊》座談會側記／陳宜艷
  參訪報告
  清流部落參訪小記／陳慧先
  補綴歷史記憶的拼圖－－桃米村、清流部落與霧社紀行／陳育麒
  經過今日的霧社與清流部落／李靜慧
  不滅的記憶－－清流部落與霧社參訪心得／張孝慧
  From Puli（埔里）to Wushe（霧社）／Michael Knopf
• （蔡偉娟整理）

卷頭語（第五期）

一 年又快過了，今年臺灣社會最熱的話題之一就是電影《賽德克‧巴萊》，社會大眾好像就在期待它的放映、進場觀看，以及觀後議論中度過了這一年。關於這部電影 的優缺點，由於我個人欠缺電影藝術方面的認識和素養，不想隨意評論，但作為臺灣歷史研究者，看到整個社會因這部電影而開始關心霧社事件，開始關心原住民文 化和歷史，委實感到高興。此外，我認為這部電影為將來拍攝類似題材立下了里程碑。臺灣原本就是個多族群、多語言、文化歧異性很高的社會，但在這之前，不會 有人管你原住民是哪一族，講什麼語言，一概標準國語配音。有位知名文化界人士就說，這部電影最震撼人心的是，你到電影院看時，故事明明發生在臺灣，但你一 句話都聽不懂，好像在看外國片，夠震撼教育的。其實豈止語言，那些美麗的山林實景，也不存在於多數人的臺灣「想像」中。

由 於這部電影的情節和史實有落差，造成一些人的焦慮，擔心社會大眾會將影片的情節等同史實──很多人本來完全不清楚霧社事件的梗概，看了之後以為這就是歷史 上的霧社事件。就此而言，如果這部電影能盡量合乎史實，應該是最理想的了。不過，我認為，識者之所以會有這種焦慮，其實是因為社會大眾對臺灣歷史欠缺基本 認識（甚至毫無認識），這又牽涉到戰後整個歷史教育的內容和方向的問題了。在注重自己的歷史的國家，通常不會有這種焦慮──日本的大河劇，英國的都鐸王朝 劇，哪裡一定都符合史實？這部電影讓我們更認真思考：我們的社會到底要建立怎樣的歷史認識？以外於臺灣歷史脈絡的歷史為自己的歷史？還是真正面對斯土斯民 的過去？再者，研究者是否也應該致力於歷史知識的普及工作？

乘 著電影《賽德克‧巴萊》的風潮，本部落格從九月初開始，點閱人次大增，從百到千，一日之內曾超過二千人次。這給我們很大的鼓勵。這個部落格原本的用意就是 想引發一般閱聽大眾對臺灣歷史的興趣，採取的方式是提供一些比較切身卻又不很深奧難懂的歷史知識。我們從二○○九年年底開始，舉辦若干和霧社事件相關的活 動，也貼出不少文章，至今累積二十餘篇。在社會閱聽大眾亟需有關該事件的知識時，我們能夠適時提供服務，讓我們感到很欣慰。希望未來的一年我們能繼續貼出 具有參考價值的文章。

最後感謝所有讓這本「霧社事件專號」成為可能的作者和提供協助的熱心人士。謝謝大家！并祝各位

新年快樂！

　　　　　　　　　　　　　　　　　　　　 周婉窈 謹誌

2011年12月12日

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