台湾闽南语电影中的“中国题材”“中国叙事”与身份认同——以歌仔戏电影为例

“Chinese Theme”,“Chinese Narrative” and Identity in Taiwan Residents Hokkien Films——Take Gezi Opera as an Example

中国台湾闽南语电影是一种采用闽南语方言发音,针对台湾本省受众拍摄的方言影片,兴盛于上世纪六七十年代,在商业资本的竞逐之下电影生产类型混杂、质量低下,最终在1981年消失在历史的风尘之中。但是在诸多的类型生产中,借助“歌仔戏”电影与中国历史题材片进行现代性符码转换的闽南语电影中始终伴随着“中国叙事”的文本书写和“身份认同”的心理表征,文章以“中国”为论述的主体,综合运用影视批评学、叙事学和文化分析等手法建构台湾闽南语电影中“地方—国家”的想象共同体,并试图建构其文化意义。

Taiwan Residents Hokkien films in Taiwan,China,are films made in Hokkien dialect mainly targeted at the Taiwan Residents audience and were flourishing in the 1960s and 1970s.Then under the fierce competition of commercial capital,various genres of low-quality Hokkien films were produced and they ultimately stepped off the historical stage in 1981.However,in many types of film productions,the Hokkien-language films that use“Gezi Opera”movies and Chinese historical movies to realize modern transformation are always accompanied by the textual writing of“Chinese narrative”and the psychological representation of“identity”.This paper takes“China”as the subject matter and uses film criticism,narratology,and cultural analysis to construct the“local-national”imaginary community in Taiwan Residents Hokkien films,with an attempt to construct its cultural significance.