식민/탈식민시기 영화 속 타이완원주민 재현과 소비- ‘사욘’을 중심으로 (On the Representation of the Taiwanese Aborigines in Movies from the Colonial Era to the Post-Cold War Era: A Focus on Sayon’s Bell)

서지정보

· 발행기관 : 중앙대학교 외국학연구소
· 수록지 정보 : 외국학연구 / 42호 / 407 ~ 428페이지
· 저자명 : 윤영도

초록

Stories about Taiwanese Aborigines, including the Atayal people, have been narrated and represented by the others who have the hegemonic power and language. In the concept of G. C. Spivak, exactly they are "the subaltern" who can not speak. But recently Taiwan aborigines began to narrate their own stories in their own voice through movies, such as Warriors of the Rainbow: Seediq Bale and Finding Sayun, which was released in 2011.
This paper compares three films which are based on the story of an Atayal girl, Sayon (Sayun), who disappeared in the rapids during the Japanese occupation period. Sayon’s story has been reproduced and interpreted in different ways in three films: Sayon’s Bell (1943), Sayon (紗蓉) (1958), and Finding Sayun (2011). This paper analyzes the political implications and the cultural contexts of each movies, which produced in the Colonial period, the Cold War period, and the Post-Cold War period, and especially focuses on the representation and the discourses of Taiwanese aborigines. In conclusion, the last film, Finding Sayun, is an important example of the self-narrative of Taiwanese aborigines.

영어초록

Stories about Taiwanese Aborigines, including the Atayal people, have been narrated and represented by the others who have the hegemonic power and language. In the concept of G. C. Spivak, exactly they are "the subaltern" who can not speak. But recently Taiwan aborigines began to narrate their own stories in their own voice through movies, such as Warriors of the Rainbow: Seediq Bale and Finding Sayun, which was released in 2011.
This paper compares three films which are based on the story of an Atayal girl, Sayon (Sayun), who disappeared in the rapids during the Japanese occupation period. Sayon’s story has been reproduced and interpreted in different ways in three films: Sayon’s Bell (1943), Sayon (紗蓉) (1958), and Finding Sayun (2011). This paper analyzes the political implications and the cultural contexts of each movies, which produced in the Colonial period, the Cold War period, and the Post-Cold War period, and especially focuses on the representation and the discourses of Taiwanese aborigines. In conclusion, the last film, Finding Sayun, is an important example of the self-narrative of Taiwanese aborigines.

참고자료

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