電影的記憶建構力量: 探討台灣與西班牙21世紀電影對創傷過去的回應

Abstract

本論文旨在探討當代電影在建構與傳遞二十世紀台灣與西班牙於獨裁政權下所形成的創傷集體記憶中的角色。本文參照兩國之文化記憶理論、代際研究，以及社會政治歷史背景，並採用阿斯特莉特．埃爾爾(Astrid Erll)所提出的三層次框架——intra-medial、inter-medial與pluri-medial分析四部代表性電影作品：台灣的《淚王子》與《返校》，以及西班牙的《羊男的迷宮》與《黑色麵包》。不同於僅著眼於歷史再現之正確性與否的批評視角，本研究關注電影在集體記憶的建構與保存上的潛能，並進一步評估這些作品對台灣與西班牙不同世代觀眾所可能產生的影響。儘管台灣與西班牙在文化傳統與地緣政治脈絡上迥異，兩者在冷戰期間皆作為反共陣營的重要盟友，在當時的國際格局中扮演關鍵角色。期間，兩國公民皆歷經長期威權統治，而這些政權所遺留下的影響，至今仍深刻地形塑著有關身份與記憶的公共對話。透過比較分析，本研究指出，台灣與西班牙的當代電影在記憶協商、公共論述建構，以及促進代際對話等方面，皆扮演著關鍵角色。研究發現，儘管歷史的準確性有助於提升觀眾的參與度，但情感共鳴、敘事結構、可近性與行銷策略，同樣在電影作為記憶製造場域的過程中，發揮了同樣關鍵的作用。

本研究透過聚焦於台灣與西班牙之間的共通經驗與差異對照，不僅為當前的記憶與創傷研究領域帶來貢獻，也呼籲未來在台西兩國間展開更多學術對話。此舉有助於促進兩國在政治、社會與法律層面上，針對威權遺緒的處理與回應，建立有意義的交流與理解。最終，本研究強調電影不僅具備歷史再現的能力，更能積極參與於社會對未來的想像建構之中，並彰顯其作為教育工具的重要潛力。This dissertation examines the role of recent cinema in constructing and transmitting collective memory of the traumatic dictatorial past experienced by the societies of Taiwan and Spain in the 20th century. Drawing on cultural memory theory, generational studies, and the socio-political histories of both nations, four films are analyzed—Prince of Tears (Yonfan, 2009) and Detention (John Hsu, 2019) from Taiwan, and Pan’s Labyrinth (Guillermo del Toro, 2006) and Black Bread (Agustí Villaronga, 2010) from Spain—through Astrid Erll’s three-level framework: intra-medial, inter-medial, and pluri-medial analysis. The aim of this research goes beyond identifying historical accuracy or inaccuracy in films, considering the broader memory-making (or memory-keeping) potential of each film, assessing their influence on viewers from Taiwan and Spain across different generations.Although Taiwan and Spain differ significantly in cultural traditions and geopolitical contexts, both have played a significant role as anti-communist allies during the Cold War, years in which citizens experienced long-standing dictatorships whose legacies continue to influence present-day identity and memory discourses. Through comparative analysis, this research shows that contemporary cinema in Taiwan and Spain plays a crucial role in negotiating memory, shaping public discourse, and fostering intergenerational dialogue. The findings suggest that, while historical accuracy may contribute to viewer engagement, aspects such as emotional resonance, narrative structure, accessibility and marketing play an equally important role in transforming films into memory-making instruments.By highlighting these transnational parallels and contrasts, this study not only contributes to the existing field of memory and trauma studies but also offers an invitation to further scholarly exchange between Taiwan and Spain, highlighting the beneficial dialogue that could improve how these two different nations address the dictatorial past and deal with it in political, social and legal terms. Ultimately, this dissertation underscores the potential of cinema not only to reflect the past,but to actively shape the social imagination of the future, and thus, films’ potential as an educational tool is also emphasized.