Historical Representation and Identity Politics in Seediq Bale Against a Simple Dichotomy between Civilization and Barbarism Liang-ya Liou* Abstract T

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1 DOI: /CWLQ (3) * ** contrapuntal * **

2 Historical Representation and Identity Politics in Seediq Bale Against a Simple Dichotomy between Civilization and Barbarism Liang-ya Liou* Abstract This article examines historical representation and identity politics in Wei Te-sheng s film Seediq Bale. I argue that the movie s historical representation of the Musha Incident is interwoven with its identity politics to deconstruct the dichotomy between civilization and barbarism both in and beyond the Incident. Whereas the historical representation has to do with its use of film genres and interpretation of the Incident, the latter entails identity politics, particularly regarding its portrayal of the Seediq tribesmen s self-identity or split identity as well as their relationship with the film s implicit Taiwanese consciousness. The first section traces the historical, literary, and filmic representations of the Musha Incident in the past, which make it possible for the film to adopt a view closer to those of the Seediq tribespeople. The second section discusses the film s historical representation by focusing on the contrapuntal relationship between the two sets of cultural signifiers surrounding the Sun flag and the Rainbow Bridge. The third section deals with how the film debunks the dichotomy between civilization and barbarism by its depiction of the relationship between identity politics and the Seediq tribespeople s struggle between life and death. The conclusion addresses the film s portrayal of Seediq community s environmental consciousness and the contemporary significance of the Incident the film brings into focus. Keywords: Seediq Bale, historical representation, identity politics * Distinguished Professor with a joint appointment in Foreign Languages and Literatures and Taiwan Literature, National Taiwan University 1 6

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