“后海角时代”台湾新导演作品中的在地精神与身份表述——魏德圣、钮承泽比较研究

The Local Spirit and Identity of Taiwan New Generation Film——A Comparison between Wei Te-Sheng and Niu Chen-Zer

2008年《海角七号》创下5.3亿新台币的票房纪录成为台湾电影史上的重要转折点,"后海角时代"涌现出一批新生代导演群,在电影题材与创作、制作与行销、票房收益等方面打开了台湾电影与以往各时期不同的新局面。魏德圣、钮承泽是其中重要的两位新生代导演,通过对二人的成长背景与创作经历、电影主题与内容、电影发展路径的比较可见,魏德圣为土生土长的台湾本省人而钮承泽为迁台外省二代,二人都受到台湾新电影不同程度的影响;魏德圣不断尝试挑战台湾的本土"大片",而钮承泽则着力于探索两岸合拍合制以及两岸题材电影;魏德圣将台湾建构为由史至今外族侵略下形成的多元文化的后殖民岛屿,钮承泽则再现了在1949大迁徙之后在国民政府影响下与大陆不可断连的台湾。

Cape No.7〉got 530 million NT box office in 2008,made a new record and became an important turning point in Taiwan film history.Wei Te-sheng and Niu Chen-Zer are two important new generation directors after 2008.Wei is an Islander while Niu is a Mainlander,both of them are affected by Taiwan new cinema;Wei continue to try to challenge Taiwan's local"blockbuster"and Niu is focused on exploring the co-operation of cross-strait;Wei constructed Taiwan as a postcolonian island affected by foreign aggression and Niu reproduces Taiwan under the influence of the Kuomintang government after 1949.