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| 研究生： |
張安福 Lucas Anakin Chong |
|---|---|
| 論文名稱： |
殖民暴力的視覺再現:荷印尼電影對印尼獨立戰爭(1945-1949)的詮釋 Visualizing Colonial Violence: Dutch and Indonesian Representations of the Indonesian War of Independence (1945–1949) |
| 指導教授： |
梁家瑜
Liang Chia-Yu |
| 口試委員: |
Deasy Simandjuntak
Cory Huang |
| 學位類別： |
碩士
Master |
| 系所名稱： |
社會科學學院 - 亞太研究英語碩士學位學程(IMAS) International Master's Program in Asia-Pacific Studies(IMAS) |
| 論文出版年： | 2026 |
| 畢業學年度： | 114 |
| 語文別： | 英文 |
| 論文頁數： | 77 |
| 中文關鍵詞： | 印尼獨立戰爭 、殖民暴力 、歷史電影 、集體記憶 、歷史影像書寫 |
| 外文關鍵詞： | Indonesian War of Independence, Colonial Violence, Historical Film, Collective Memory, Historiophoty |
| 相關次數： | 點閱：11 下載：0 |
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印尼獨立戰爭（1945–1949）至今仍是荷蘭與印尼兩國歷史記憶中充滿爭議的歷史事件。近年來，歷史學界逐漸揭示並記錄此衝突期間廣泛存在的暴力現象，然而，相關事件如何在大眾視覺文化中被再現出來，以及這些再現方式如何形塑當代社會對殖民暴力的理解，卻很少受到關注。本研究旨在探討荷蘭與印尼歷史電影如何刻畫有關印尼獨立戰爭期間戰爭罪行的公共記憶，以及這些影像再現如何反映電影創作當時所處的政治與文化脈絡。本研究以 Robert Rosenstone 的「歷史影像書寫」（historiophoty）概念、Christian Metz 的電影符號學、Alison Landsberg 的「義肢記憶」（prosthetic memory）理論、Stuart Hall 的編碼／解碼模式，以及 Shohini Chaudhuri 的道德與倫理框架作為理論基礎，探討電影敘事如何形塑觀眾對責任、受害者身分、罪疚感與暴力正當性的理解。研究採取質性比較分析方法，選取四部具代表性的劇情長片作為研究對象，包括荷蘭電影《Oeroeg》（1993）與《De Oost》（2021），以及印尼電影《Janur Kuning》（1979）與《Jenderal Soedirman》（2015）。每部影片皆透過脈絡分析、主題分析、敘事分析與符號學分析進行探討，並輔以觀眾接受度及當代公共論述的考察。研究結果顯示，不同國家背景下的電影對殖民暴力存在顯著不同的框架方式。荷蘭電影傾向凸顯道德曖昧性、個人罪疚感，以及個體在更廣泛殖民體制中的共犯角色。暴力經常被呈現為一種具有倫理困境的現象，促使觀眾反思責任問題以及參與殖民戰爭所帶來的後果。相較之下，印尼電影則多將暴力置於民族解放的敘事脈絡之中，將革命者描繪為在道德上正當且合理的獨立捍衛者，同時強調荷蘭殖民統治的壓迫與殘酷性。透過比較荷蘭與印尼電影對同一歷史事件的不同再現方式，本研究指出，歷史電影不僅是對過去的再現，更是一種積極參與集體記憶建構的歷史書寫形式。這些影像作品透過不同的道德框架與敘事策略，塑造社會對殖民暴力、歷史責任與帝國遺緒的理解。因此，本研究有助於深化記憶研究、後殖民電影研究，以及歷史暴力視覺政治相關領域的學術討論。
The Indonesian War of Independence (1945–1949) remains a contested site of historical memory in both the Netherlands and Indonesia. While recent historiography has increasingly documented the widespread violence that characterized the conflict, less attention has been paid to how these events are represented in popular visual culture and how such representations contribute to contemporary understandings of colonial violence. This study examines how Dutch and Indonesian historical films construct public memories of war crimes committed during the Indonesian War of Independence and how these representations reflect the political and cultural contexts in which the films were produced. Drawing on Robert Rosenstone’s concept of historiophoty, Christian Metz’s film semiotics, Alison Landsberg’s theory of prosthetic memory, Stuart Hall’s encoding and decoding model, and Shohini Chaudhuri’s framework of morality and ethics, the study investigates how cinematic narratives shape interpretations of responsibility, victimhood, guilt, and justification. Using a qualitative comparative approach, four feature films were selected for analysis: the Dutch films Oeroeg (1993) and De Oost (2021), and the Indonesian films Janur Kuning (1979) and Jenderal Soedirman (2015). Each film was examined through contextual, thematic, narrative, and semiotic analysis, supplemented by an examination of audience reception and contemporary public discourse. The findings demonstrate significant differences in how colonial violence is framed across national contexts. Dutch films tend to foreground moral ambiguity, individual guilt, and complicity within broader colonial structures. Violence is frequently depicted as ethically troubling, encouraging viewers to reflect on responsibility and the consequences of participation in colonial warfare. Indonesian films, by contrast, generally situate violence within narratives of national liberation, portraying revolutionary actors as morally justified defenders of independence while emphasizing Dutch brutality and colonial oppression. By comparing Dutch and Indonesian cinematic representations, this study contributes to scholarship on memory, postcolonial cinema, and the visual politics of historical violence.
1. Introduction 1
1.1 Research Question 2
1.2 Structure 3
2. Literature Review 4
2.1 Global Film Scholarship on Colonial Violence, War Crimes, and Genocide 4
2.2 Dutch Historiography of Colonial Violence 5
2.3 Indonesian Historiography of the Revolution 7
2.4 War Crimes 8
2.5 Discussion of the Indonesian Independence War as portrayed in Cinema 9
2.6 Gaps and Contribution 10
3. Theory and Framework 11
4. Methodology 14
4.1 Context of the Study 14
4.2 Study Design 14
4.3 Subject selection 15
4.4 Trustworthiness 16
4.5 Analysis 17
5. Analysis 18
5.1 De Oost 18
5.1.1 Context 18
5.1.2 Thematic analysis 19
5.1.3 Narrative Analysis 20
5.1.4 Stylistic/semiotic analysis 21
5.2 Oeroeg 28
5.2.1 Contextual analysis 28
5.2.2 Thematic analysis 28
5.2.3 Narrative analysis 29
5.2.4 Stylistic/semiotic analysis 30
Scene 2: The Torture of the Captured Fighter 33
5.3 Jenderal Soedirman 36
5.3.1 Context Analysis 36
5.3.2 Thematic analysis 37
5.3.3 Narrative analysis 38
5.3.4 Stylistic/semiotic analysis 40
5.4 Janur Kuning 46
5.4.1 Context analysis 46
5.4.2 Thematic analysis 46
5.4.3 Narrative analysis 47
5.4.4 Stylistic/semiotic analysis 49
Scene 2: The Execution of the Elderly Villager 51
5.5 Audience Decoding Analysis 54
5.5.1 Decoding De Oost 54
5.5.2 Decoding Oeroeg 56
5.5.3 Decoding Jenderal Soedirman 57
5.5.4 Decoding Janur Kuning 59
6. Discussion 61
6.1 Contrasts 61
6.2 Common tropes 62
6.2.1 Rounding up of civilians and unlawful executions 62
6.2.2 Prisoners of war 62
6.2.3 Collective Punishment 63
6.3 The Moral Dimension of Violence 63
6.4 Cinematic Histories 65
6.5 Decoding and Prosthetic Memory 66
7. Conclusion 67
8. References 72
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