歷史距離與文化認同：《南進台灣》的旗袍、亭仔腳與高爾夫球
中文摘要
台灣歷史博物館歷經數年修復了一批日治時期留下的紀錄片，並於2008年發行、出版了這批影影片的DVD版本與研究成果。這四部紀錄片中又以《南進台灣》最受矚目，它對台灣歷史、亦或台灣電影史，立即成為不可或缺的重要影像歷史文獻。本文就此，提議三個研究分析的觀點：1. 作為一件動態影像的史料，以及它的紀實影像特性，都使有關它的影像再現模式的掌握，成為最基礎、也是最重要的議題；2. 作為一件歷史文本，它又可能如何「進入」台灣歷史、或是台灣電影史？3. 它或許露骨地展現一種「帝國的凝視」，我們也確定不可能和八十年前的東京觀眾一般，感受那「優越的民族」或「強國的驕傲」；我們又應該如何回應這個「凝視」？ 本文首先將據此三個觀點，分析比較現有之研究成果；進而提出《南進台灣》可能是一種「過時的再現模式」，我們也只有在與它之間保持一個「歷史距離」的關照之下，或可洞悉台灣作為一個文化主體
Abstract
National Museum of Taiwan History commissioned an archival film restoring project to Tainan National University of Arts in 2008, the result of which brought out the accessibility of the wartime documentary Marching South toward Taiwan produced during Japanese colonial rule. The publication and distribution of the DVD set, combined with treatments of the film, censorship documents; and most importantly, research papers contributed by film scholars, basically built up valuable preliminary studies of the film. This research project is to reexamine previous research findings, and propose further inquiries into three research aspects: First of all, a reassessment of the film as an aesthetic practice and representation practice in order to pin-point its specific mode of representation; secondly, as a piece of historical text, how would it be ‘reentered’ into Taiwan history, and to be articulated to the understanding of our historical past and the incorporating of its significance to the present; thirdly, as present time viewers, we are not likely positioned as audiences in Tokyo some eighty years ago, mesmerized in the atmosphere of a superior, civilized, and rising colonial power; then, how are we going to respond to this ‘imperialist gaze’? As discussed, this research project is to propose to delve into the film, Marching South toward Taiwan as a specific mode of representation, a historical text requiring certain articulation into its historical/present significance, and a case of demonstrating our complex responses as present-day viewers. Finally, the research results will to suggest: 1) Marching South toward Taiwan developed from the tradition of ‘actualities film’ and achieved a form of ‘wartime documentary; 2) with its historical-specific mode of representation practice, it enables itself as a signifying historical text, and we need to keep ourselves in a ‘historical distance’ in order to possibly grasp its historical significance to the past and the present; 3) as present-day viewers, we are confronted with the ‘imperialist gaze’, at the same time, trying to construct our viewing position as a viewing subject, which could be testifying an ever-evolving Taiwanese identity formation.