大稻埕

The filmTwa-Tiu-Tiannis Yeh Tian-Lun’s second film afterNight Market Heroin 2012, which is a continuation of his locality route, with Taiwanese as the main language and a lot of local elements. It was released during the Chinese New Year in 2014 and was positioned as a family-friendly New Year’s Eve film, generating NT$200 million at the box office (Tsuyoshi Nojima, translated by Chang Ya-Ting, 2015, p.311).Twa-Tiu-Tianntells the story of Chen Yu-His, a college student, and Chu Chueng-Te, a history professor, who travel through time and space to Dadaocheng, Taiwan’s most prosperous first downtown area during the Japanese rule in the 1920s. Two historical events, the Japanese Crown Prince’s visit to Taiwan and Chiang Wei-Shui’s Petition Campaign for the Installation of Taiwan’s Parliament are involved. Although the film sets to travel to 1920s, there are only two Japanese who appear, Goto Shinpei, the 4th Governor of Taiwan and Kurosaki, a police officer.

Police officer Kurosaki suddenly barges into Nan Chun tailor shop, shouting in a Kansai accent that no trouble was allowed, and beats Ah Chun with a baton, then went out with the words “You Taiwanese are so disorderly”. Subsequently, he entered the theater where the Taiwanese play was being staged, saying, “Go home immediately, the show is over. The Crown Prince will be visiting Taiwan soon. From now on, all non-Japanese performances are completely banned”. But the people in the theater were not willing to obey his orders, chanting a Taiwanese song together, and Professor Chu even threw a basin of water on his head. Finally, he had no choice but to leave in disgrace. From one perspective, the image of Japanese inTwa-Tiu-Tiannis stereotypical, similar to the image of violent and bad Japanese who despises and bullies the Taiwanese in films from 1950s to 1970s. However, what differs it from the films of that period is that Japanese also become the object of ridicule by the Taiwanese.

In fact, although the film is meant to be a return to history, it makes a lot of historical mistakes, such as the 1930s paintings and songs appearing in the 1920s, and referring to the Taisho era of Japan as the Showa era (Akamatsu Miwako, Translated by Chen Yun-Yuan, 2017, p.212). Filled with various “pastiche” plots and hilarious performances, the film is a mix of comedy and farce, while history seems insignificant, just like what Jameson (1991) describes as the features of postmodernist culture, “a new depthlessness”, “a consequent weakening of historicity” and “a whole new type of emotional ground tone”. By presenting historical architecture and folklore activities, and with the help of art and styling,Twa-Tiu-Tiannrecreates the social landscape of colonial Taiwan. Whereas “nostalgia” is not a “representation” of historical content, but merely consumption of history, catering to the tastes of the masses in today’s commodity society (Zhao, 2010).

Although Japanese Kurosaki is portrayed as a stereotypical colonizer and Chen Yu-His also witnessed his atrocities, Chen himself did not suffer direct discrimination and harm, nor did he ever come into direct conflict with the colonizers, so he was always an outsider of the social reality of colonization in the film from the beginning to the end. This is the same as the current situation of most Taiwanese. Even though they know that colonization has brought humiliation and pain to Taiwan, since they do not have direct experience of colonization and do benefit from the modernity brought by colonization, they are less willing to dwell on the real face of history than to use the colonial past as a kind of nostalgic consumption.

Nostalgia occurs when people are dissatisfied with reality and want to find solace from the past. In the film, Chen experienced the double damage of losing his mother and his love in modern Taiwan, but he fell in love with Ah Rui in colonial Taiwan. Although Ah Rui eventually returned to the 1920s, he ended up meeting a girl who looked like Rui in modern Taiwan. After this time travel, his wounds were healed. For the audience, the healing effect is the same. The colonial oppression is resolved by the entertaining treatment of the Japanese police being mocked, Professor Chu used a modern catwalk show to help Ah Chun expand her business, and Ah Chun, who was shot, also escaped to modern Taiwan…By giving the audience a happy ending, the film creates beautiful imagery of colonial memory (Huang, 2011).

Therefore, Japanese complex inTwa-Tiu-Tiannis influenced by postmodernist culture. The film uses Dadaocheng in the Japanese period as a nostalgic space, “approaches the ‘past’ through stylistic connotation”, and “conveys ‘pastness’ by the glossy qualities of the image” (Jameson, 1991). Japanese exist as part of nostalgic consumption, for whom Taiwanese to find solace. Moreover, it should be pointed out that this kind of nostalgic narrative is an entertaining, consumerist reconstruction of history, making history “itself” out of reach.

References

Akamatsu Miwako, Translated by Chen Yun-Yuan. (2017).Narratives of the “Japanese Era” in Modern Taiwanese Cinema: Centered on Warriors of the Rainbow: Seediq Bale, Twa-Tiu-Tiann, and KANO [現代台灣電影中「日本時代」的敘述——以《賽德克·巴萊》、《大稻埕》及《KANO》为中心]. In Shozawa Jun & Lin Chu-Mei (Ed.). Japanese Memory in Post-War Taiwan : Returning to the Post-War Time and Space [戰後台灣的日本記憶——重返再現戰後的時空]. Taipei, TP: Asian Culture Publishing Co., Ltd.

Huang S. (2019). Taipei Memory in Taiwanese New Year Films: Case Studies of Báng-kah and Twa-Tiu-Tiann [台湾贺岁怀旧电影建构之台北“记忆之场”——以《艋舺》《大稻埕》为例].Contemporary Cinema. 2019(09), 89-93.

Jameson, F. (1991).Postmodernism, or, the cultural logic of late capitalism.North Carolina, NC: Duke University Press.

Tsuyushi Nojima, translated by Chang Ya-Ting. (2015).Finding New Taiwan Through Movies in 2007-2014 [銀幕上的新台灣：新世紀台灣電影中的台灣新形象]. Taipei, TP: Linking Publishing, Ltd.

Zhao, C. (2010). The Japanese Complex in Taiwanese Cinema [台湾电影中的日本情结].Qilu Realm of Arts. 2010 (04), 56-61.

蔣渭水主張台灣能成為日華親善的媒介，
但其實他是以非暴力反日的手法，想推動台灣自治，
推翻日本的統計，所以日本人當然對他恨之入骨。

光復後也沒好多少，他組的台灣民眾黨，
很多前黨員也都在228事件時遭到迫害致死，
但228事件後，蔣中正為了安撫民心又表彰蔣渭水的貢獻
，到了白色恐怖時期，蔣渭水的主張偏左派，也帶有點馬克斯主義，
所以蔣渭水的名字又變成不能說的秘密，

到了扁、馬政府時，
又開始宣傳蔣渭水的台灣意識等等主張，蔣渭水又被重新歷史定位，
總之，蔣渭水的地位隨著當權者的不同一直起起伏伏的。

本片与导演上一部电影《鸡排英雄》相似，乡土居民如何在时代变幻中恪守自己的传统。
其实无论是《每当变幻时》还是《致我们终将逝去的青春》，都是在怀念自己那些在新世纪潮流之外的时代文化。那些时代文化，比更加辽远的古典时代要来的鲜活，又比眼前的当代社会要来的传统。但这些形成中的传统被破坏，一般归结为G党的革新政策导致两岸三地的文化内陆化影响，那如果没有这种内陆化的影响呢？毫无疑问，有一个相当成功的典范——韩国。无论是在经济量还是文化独立性，乃至于政治自主性上都保持了相当成功的状态。
那将这种潮流不存在的幻想以某种力量来进行扭转，可以么？假设这种可能性的本身也就陷入了与可能性努力本身的相似陷阱。
对现状的不满，发泄在历史上，其本身不仅是打扮历史，更是让现实陷入一种不古不今的名实分离之中。无论是以现实阐释历史，亦或者以历史幻想现实，都在这种分离之路上愈行愈远。将没有出路的现实寄托在这，不过是中二症发的无聊臆病，恰是支那文化中最为易发的“伦理宗教”肇端。
无论是台湾、香港、澳门亦或者大陆内地，其所消失的最近六十年，即二战以来所重新塑造的地区族群（或可直接名之为“民族”）与地区传统，乃至于此二者所承载的文化内涵，均是在不断成型，而又不断影响，所坚持与所漠视的民众，都只是在传播影响时被放大的传声器，其传声的关键来源在现实的感触与媒介的传播，而非其真实所能反应的内在。研究地域文化者，尤其是现世地域社会的文化研究，若以其历史源来与媒介传声为主体，那无疑是本末倒置，放在二手贩子那里，更是容易惊奇其“形成中的民族”，既有“形成中的民族”就有“消失中的民族”，忽略掉期互为消长的关系，也就容易在民族问题上不断应对新问题而提出自毁式的新理论，没有了在一定时段内的“范式形态”，千年炖成一锅，当然可以，但首先要看清楚，这一千年，是否是同一个国家，这就是“唐宋变革论是难以否定的假设“。
为何在最近二三十年的地区文化消亡如此显著？而让怀旧气息弥漫。这种与过去较长时间中出现过的”追三代“的怀旧传统相迥，而仅仅是怀念近世之”旧“这是新时代中突出的文化现象，当与二战妥协的战时传统相关，二战终战，并非世界和平的到来，一战的终战，让世界存在在了一个体系中，而二战却意味着世界的撕裂，从头到脚塑造了原本不存在的两三种自称为”传统”的模式。
所谓“近世之旧”，不过是一代之幼，而非三代之善，三代之善，是求道立德，为天地正心。而一代之幼，勉强可称纯良而已，人在社会，铜臭之中，这种怀旧可简单称为“婊子立牌坊”。
无论在过去的时间上变化的现在，还是在现在开始出发的未来，没有人能预知，无论是历史学家还是未来学家，能够给出潮流已属不易，能够给出结果，那就纯粹是“神棍学”而非“人文学”了。希望看到所谓“暴支”恶果的人，其心态不亚于在金庸小说中看到欧阳锋真疯了。历史，不论怎么写，它不是道德轮回，李世民杀兄逼父可以做皇帝，G党过去做的恶事不会被历史原谅，但也绝不会被历史审判，历史只在时间上延续，而非在道德上因果。

不知道这种历史观 能被多少大陆人接受
历史永远都是人写出来的，该怎么走向未来，没人知道。
用商业片的模式加之搞笑作伪装，包装台湾人的本土历史观。
除去一些逻辑问题，这个片子挺好的。
标准的台式幽默。

我已然越来越理解 台湾人对这片土地的热爱。
只是，我依旧站在大历史的角度
无法扭曲的认为 我们都是中华文化一脉传承下来的、

台湾电影就是有种小清新的风格，看了赏心悦目。大部分人看不懂主要还是价值观和语言差异的问题。这部电影以闽南语为主，很有乡土气息，听不懂的看字幕也就失去很大的感觉，很幸运我是闽南人，所以听得懂。这部剧强调了台湾人的主体性，所以可能部分大陆人会因此贬低这部剧的主题。但这是台湾人拍给自己看的，所以也无可厚非，精神还是向上的。看得懂的人自然看得懂，看不懂的人自然看不懂。也不要因此而去延伸到两岸关系的问题，带着所谓的“爱国”看这部电影，不如不看。

看完整部片子，很感慨，台湾的舞台剧改编电影后，让人很无语。

作为日占时代，片中的日本人，尤其是左眼有胎记的日本头领，看不出他的职位，片中并没有阐述，在片中他一直表现的畏畏缩缩，相当无法了解。这特么是日占区，台湾人民这么叼，日本怎么会占领。

所以，不要美化，实事求是，这是很多导演做不到的。

朋友推荐才看的, 有点失望.

不知是否资金问题, 放的桥段太多, 卻全都虎头蛇尾, 有碰而没交待或草草了事. 玩穿越却老套, 玩双关语和同音也不好笑, 全程无笑点. 哦, 只有最后阿纯变素珠有笑了一下.

全片可说都是猪哥亮在硬撑, 但这样的剧本他也巧妇难为无米之炊. 几个主演的口条真惨不忍赌, 反而一眾草根演员画龙点睛可圈可点, 例如鸦片馆老板最闪亮, 眼神就很有戏, 台詞不多卻句句深入人心; 茶行老板杨烈也资深穏重, 素珠才一个镜头, 却是全片里我觉得最好的一幕. 这些人一出场就气场强大到马上吸睛, 举手投足完爆主角们. 当然李李仁的蒋渭水除外, 他只能算重口味的酱油君, 一如既往地平铺直敍.

说白一点, 导演有野心但实力一般, 有念想但格局出不来. 作为历史片称不上, 作为喜剧片还真没什麼笑点, 花了大钱造布景却很假, 摆了大堆实力演员也没善用, 每人就一两个镜头分个记不住的角色.

反观大陆, 再烂的片子大多不缺资金, 要服装有服装, 要布景有布景, 演员至少都科班出身, 在长期吸收台湾及香港人才经验后, 产业已一条龙无缝接轨. 资金确实能解决很多事, 也能把有限的才华向上提升一个档次. 而台湾电影业的欠缺资金, 久缺人才, 什麼都靠梦想靠摸索, 何时才有国际准, 不再自我yy自我安慰的片子?

实在不想把这片的小心思和台湾目前的窘状作联想, 但恰恰是什麼环境才会出现相应的作品.对於这部片子, 导演的勇气还是值得鼓励的, 但希望能有更成熟更深层的作品, 而不再是浮面的大杂烩.