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| 研究生： |
洪小莉 Lea Maeva Glotin |
|---|---|
| 論文名稱： |
創造性記憶與「不再重演」：轉型正義框架下的台灣電影及其觀眾接受 Creative Memory and Non-Recurrence: Decoding Taiwan Cinema and Its Audience Reception within the Framework of Transitional Justice |
| 指導教授： |
梁家瑜
Liang, Chia-Yu |
| 口試委員: |
黃兆年
Huang, Jaw-Nian 徐明瀚 Hsu, Austin |
| 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： | 228 |
| 中文關鍵詞： | 創造性記憶 、台灣電影 、台灣研究 、轉型正義 、觀眾接受 、不再重演 、跨國記憶 |
| 外文關鍵詞： | Creative Memories, Taiwan Cinema, Taiwan Studies, Transitional Justice, Audience Reception, Non-Recurrence, Transnational Memories |
| 相關次數： | 點閱：10 下載：1 |
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電影既是社會的鏡子，也是共同國家記憶的記錄，幫助我們理解人們的經歷。它能透過教育與提高意識，推進轉型正義，以防止暴行重演。自台灣民主化以來，台灣電影展現了多元的身份認同與家族故事，這些故事由數十年變遷塑造。本研究旨在探討台灣電影對觀眾對轉型正義的社會影響，如何強化對於「不再重演」的保證。從轉型正義的角度來看，台灣的政治軌跡經歷了多個階段，台灣電影如何呈現這些過去的暴行？觀眾又如何接受這些內容，使轉型正義中不再重演的目標得以進一步達成？針對這些問題，本研究聚焦於電影《悲情城市》（1989）與《流麻溝十五號》（2022），並運用文本與話語分析，探討這些作品如何以不同方式描繪與詮釋 228 起事件與白色恐怖的不同詮釋。。接著透過內容分析，利用主題編碼和頻率計數，檢視觀眾對此類描繪的接受度。這種方法幫助我們理解台灣不同重要歷史事件的再現，如何影響觀眾對轉型正義中「不再重演」的支持。研究結果顯示，不同的描繪方式能讓觀眾進入轉型正義的框架中並進行反思。兩部電影的跨國視角，體現在《悲情城市》的全球認可，以及《流麻溝十五號》作為向世界呈現台灣歷史的宣傳方式。因此，對電影在台灣轉型正義中不復出現角色的分析，最終以電影作為跨國工具，連結記憶與經驗，並將台灣與世界連結起來。本文以電影作為創造性記憶，透過探討觀眾接受度及電影在轉型正義中的角色，為電影研究做出貢獻，這是一個鮮少被探討的領域。藉此，它旨在展現電影故事如何塑造集體記憶，並支持社會療癒，為未來「不再重演」而努力。
Cinema functions as both a mirror of society and a record of shared national memory, helping us understand people’s experiences. It can contribute to transitional justice by educating and raising awareness to prevent recurrence. Since Taiwan’s democratization, Taiwanese cinema has highlighted multiple identities and family stories shaped by decades of change. This study aims to investigate the social impact of Taiwan films on the audience towards transitional justice, and ultimately, the guarantees of non-recurrence. As Taiwan’s political trajectory, from a transitional justice perspective, has gone through various stages, how does Taiwanese cinema represent these past atrocities? And how does the audience receive them, such that the objective of non-recurrence in transitional justice is further achieved, or not? In response to these questions, this study applies textual and discourse analysis to examine different portrayals of the 228 incidents and the White Terror in Taiwanese cinema. Focusing on the films A City of Sadness (1989) and Untold Herstory (2022), it examines how these works depict the events in different ways. Then the analysis moves on to examining the audience’s reception of such depictions by applying content analysis to audience reviews, using thematic coding and
frequency counts. This approach helped us understand how different portrayals of key historical events in Taiwan influence audiences’ engagement with the pillar of non-recurrence in transitional justice. The findings show that different portrayal can engage the audience into a reflection that can be situated in the framework of transitional justice. The transnational perspective of both films is evident in the global recognition of A City of Sadness and in Untold Herstory's promotion as a means of representing Taiwan’s history to the world. Thus, the analysis of cinema's role in non-recurrence in transitional justice in Taiwan culminates in cinema as a transnational tool that connects memories and experiences and links Taiwan to the world. Drawing on films as creative memories, this paper contributes to film studies by exploring audience reception and cinema’s role in transitional justice, an underexplored area. In doing so, it aims to show how cinematic stories shape collective memory and support societal healing for a future without repetition.
Table of Tables 7
List of Abbreviations 8
Chapter 1: Introduction 9
1.1. Context of the Study 9
1.2. Research Questions 12
1.3. Outline of the thesis 12
Chapter 2: Literature Review 14
2.1. An Artistic Perspective of Transitional Justice 14
2.1.1. Transitional Justice: A Universal Framework Adapted to Cultural Contexts Through Art 14
2.1.2. Cinema: Between National and Transnational Memories for a Future without Recurrence 17
2.2. Locating Taiwan Cinema and Transitional Justice 20
2.2.1. Taiwan’s Transitional Justice: Compromise over Momentum 20
2.2.2. Taiwan Cinema and the Representation of Past Atrocities 26
2.3. Exploring the Unexamined Bridge between Taiwan Cinema, Audience Reception, and the Guarantees of Non-recurrence 32
Chapter 3: Theoretical Framework 35
3.1. Transitional Justice 36
3.2. Gaze Theory as a Supplementary Analytical Lens 37
3.3. Audience Reception 38
Chapter 4: Methodological Remarks 41
4.1. Selection of Films 41
4.2. Analytical Design: Examining Creative Memories 42
4.3. Film Analysis 43
4.3.1. Textual analysis 43
4.3.2. Discourse Analysis 44
4.4. Audience Reviews 45
4.4.1. Content Analysis 45
4.4.2. Selection of the Audience and the Film Review Platform 46
4.4.3. From Concept to Themes 47
Chapter 5: Analyses 49
5.1. A City of Sadness 49
5.1.1. Synopsis of A City of Sadness 49
5.1.2. Textual analysis: a Long and Static Immersion into the Political and Social Context of Taiwan in the Years 1945-1950. 50
5.1.2.1. Long Takes, Soundscapes, and the Normalization of Violence 50
5.1.2.2. Characters’ Construction 53
5.1.3. Discourse analysis: Translating Taiwan’s Political Discourse into Audiovisual Narratives. 57
5.1.3.1. Representation and Power Relationships 57
5.1.3.2. Gaze and Spectator Positioning 58
5.1.3.3. About the Nation and Identity 59
5.1.3.4. Transitional justice: Reconciliation, Justice, and Non-recurrence 60
5.1.3.5 Reception and Historical Context 61
5.1.4. Audience Reception: an Audience Navigating through Incomprehension, Identification, Distance, and Intimacy 65
5.1.4.1. Disengagement 68
5.1.4.2. Emotions 70
5.1.4.3. Identification 71
5.1.4.4. Transitional Justice 72
5.1.5. Conclusion on A City of Sadness 75
5.2. Untold Herstory 76
5.2.1. Synopsis of Untold Herstory 76
5.2.2. Textual Analysis: The Green Island Re-insurgence Case through Visual, Audio, and Character Choices 77
5.2.2.1. Colors, Silence, and the Tone of Atrocities 77
5.2.2.2. On-screen and Off-screen Violence 78
5.2.2.3. Characters’ Construction 80
5.2.3. Discourse Analysis: Translating Taiwan’s Effort in Transitional Justice through Audiovisual Narratives 83
5.2.3.1. Representation of Power Relationships 84
5.2.3.2. Gaze, and Spectator Positioning 85
5.2.3.3. About the Nation and Identity 86
5.2.3.4. Transitional Justice: Justice, Memorialization, and Non-recurrence 88
5.2.3.5. Reception and Historical Context 90
5.2.4. Audience reception: an Audience between Disengagement, Questions of Historical Elements, and the Importance of Transitional Justice Films 94
5.2.4.1. Disengagement 98
5.2.4.2. Emotions 100
5.2.4.3. Identification 100
5.2.4.4. Transitional Justice 102
5.2.5. Conclusion on Untold Herstory 103
Chapter 6: Comparative discussion 105
6.1. Production, Release, and Historical Context 105
6.2. Empathy, Identification, and the Narrative Choices 106
6.3. Depiction of Violence Through Truth and Reconciliation? 108
6.4. Symbolism and Memorialization 109
6.5. Creative Memory and the Guarantees of Non-recurrence 110
Chapter 7: Conclusive Remarks 112
7.1. Conclusion of the thesis 112
7.2. Contribution of the thesis 114
7.3. Limitation of the thesis 115
7.4. Future project enabled by the thesis 116
Bibliography 117
Appendix A: Non-exhaustive List of Taiwanese Films Relating to Taiwan’s Transitional Justice 125
Appendix B: List of Film Reviews (A City of Sadness) 128
Appendix C: List of Film Reviews (Untold Herstory) 173
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