台灣現代化印記和集體記憶：以台灣動畫電影《幸福路上》為例 - 政大學術集成

全文

(1)國立政治大學國際傳播英語碩士學位學程 International Master’s Program in International Communication Studies College of Communication National Chengchi University. 碩士論文. 政治大立Master’s Thesis ‧. ‧ 國. 學 y. Nat. io. sit. 台灣現代化印記和集體記憶：以台灣動畫電影《幸福路上》為例. n. er. On Taiwanese Animated Film On the Happiness Road: Modernization aTraces and Collective Memory of Taiwan iv l. Ch. n U engchi. Student: 衣桂瑜 Geui-yu Yi Advisor: 陳儒修教授 Prof. Ru-shou Chen. 中華民國 108 年 7 月 July 2019. DOI:10.6814/NCCU201900703.

(2) 台灣現代化印記和集體記憶：以台灣動畫電影《幸福路上》為例 On Taiwanese Animated Film On the Happiness Road: Modernization Traces and Collective Memory of Taiwan. 研究生：衣桂瑜. Student: Geui-yu Yi (Eva Yi). 指導教授：陳儒修. 立. Advisor: Ru-shou Chen. 政治大. ‧ 國. 學. 國立政治大學. 國際傳播英語碩士學位學程. ‧. 碩士論文. n. er. io. sit. y. Nat. a. A Thesis. iv. Submitted tol International Master’s nProgram in C. hengchi U. International Communication Studies National Chengchi University. In Partial Fulfillment of the Requirement For the degree of Master of Arts. 中華民國 108 年 7 月 July 2019 DOI:10.6814/NCCU201900703.

(3) Acknowledgment First of all, I would like to express my gratitude to my thesis advisor professor Ru-shou Chen(陳儒修). Professor Chen is very knowledgeable and a person who is full of patience. I receive encouragement and lots of assistance from him in my research and writing. It helps me develop my interest in the cinema while working on this thesis. I really appreciated his instruction in our discussion. It is very lucky for me to have professor Chen as my advisor. Please keep healthy and wish all happiness.. 政治大. I would also like to thank professor Ling-yuan Lin(林玲遠) and professor Yen-jung. 立. Chang(張晏榕) who are both the experts in animation, giving me many nice advices to. ‧ 國. 學. improve my thesis. With their help, this thesis can be finished more complete.. ‧. Lastly, I would like to thank my classmates and professors in IMICS who spent these. Nat. sit. y. three years of life with me in graduate school in NCCU. Also, to my family who. n. al. er. io. believed in me to accomplish this task. Writing a thesis takes lots of energy, time and. i n U. v. spirit. It is a tough and lonely process, but it is worthwhile that it helps me reflect on. Ch. engchi. myself. I am glad that I finally reach to the goal and creates a good overcome. Hope this research could be helpful for those who are interested in Taiwanese animated film and Taiwan. Thank you all.. Author, Guei-yu, Yi (Eva Yi), August, 2019.. I. DOI:10.6814/NCCU201900703.

(4) Abstract This research aims to study Taiwanese animated film On the Happiness Road. The film On the Happiness Road brings the audience back to the past 40 years in Taiwan through the growth of Lin Shu-chi. It represented the collective memory of Taiwanese by handdrawn animation. Based on the development of modern Taiwanese society, this study explores the complex relationship between Taiwanese animated films and social changes in Taiwan. In addition to an overview of Taiwanese historical and cultural backgrounds, it discussed how the director uses animation to construct and represent Taiwan’s. 政治大. modernization and democratization process after martial law. And it analyzed how the film reflects the collective memory of the Taiwanese audience.. 立. ‧ 國. 學. This research analyzed On the Happiness Road in textual analysis and semiology in different socio-cultural themes, such as education under Martial Law, democratization. ‧. after Martial Law lifted, post-Cold War influence on Taiwan, gender, class, and. io. sit. Nat. and the significant historical and cultural experience in Taiwan.. y. ethnicity. This thesis hopes to point out the collective memory presented by the director. al. n. collective memory. er. Key Words: On the Happiness Road, animation, modernization, democratization,. Ch. engchi. i n U. v. II. DOI:10.6814/NCCU201900703.

(5) 摘要本研究以 2018 年台灣本土動畫《幸福路上》為研究文本，《幸福路上》藉由女主角林淑琪的成長過程，帶領觀眾感受台灣近 40 年來的時代變遷，透過一張張手繪動畫，重新紀錄身為台灣人都曾有過的共同記憶。以當代台灣社會為背景，本研究探討台灣動畫電影與台灣社會變遷之間的複雜關係。除歷史與文化背景概述，同時探討導演如何使用動畫，建構並再現戒嚴後台灣的現代化與民主化歷程，進而反映出屬於台灣觀眾的集體記憶。本文以文本分析和電影符號學方式，主題式探討《幸福路上》中台灣社會文化議. 政治大. 題，如：戒嚴後的教育體制影響、解嚴後的民主化過程、後冷戰時期下的台灣、女性、階級和種族議題，連結電影文本與現實情況，以便了解導演呈現的集體記. 立. 憶指涉何種台灣過去的歷史文化經驗。. ‧ 國. 學. 關鍵字: 幸福路上、動畫、台灣現代化、民主化、集體記憶. ‧. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v. III. DOI:10.6814/NCCU201900703.

(6) Table of Contents Acknowledgement .................................................................................................................... I Abstract .................................................................................................................................... II 摘要 ......................................................................................................................................... III Table of Contents ................................................................................................................IV List of Figures ........................................................................................................................VI List of Tables..........................................................................................................................IX. 政治大. 1. Introduction ...................................................................................................................... 1. 立. Research Motivation ............................................................................................ 1. 1.2. Research Background .......................................................................................... 3. ‧ 國. 學. 1.1. Historical Overview of Democratization Process in Taiwan ................ 3. 1.2.2. Historical Overview of Modernization Process in Taiwan ................. 10. ‧. 1.2.1. sit. y. Nat. 1.4. Structure of Chapters .................................................................................. 15. n. al. er. Research Goals & Research Questions ........................................................... 13. io. 1.3. 2. Literature Review. Ch. engchi. i n U. v. ....................................................................................................... 17. 2.1. Taiwan Cinema Under Cultural and Historical Context ................................. 17. 2.2. A Brief Introduction of Taiwanese Animated Film ........................................ 20. 2.3. The Related Films and Relevant Studies of On the Happiness Road ........... 27. 2.4. The Meaning of Collective Memory and Its Influence in Taiwan ................ 33. 3. Research Method .......................................................................................................... 38 3.1. Textual Analysis ................................................................................................ 38. 3.2. Semiology ........................................................................................................... 40. IV. DOI:10.6814/NCCU201900703.

(7) 4. Analysis of On the Happiness Road .......................................................................... 42 4.1. Creation of On the Happiness Road .................................................................. 42. 4.2. Storyline of On the Happiness Road ................................................................. 45. 4.3. Education under White Terror ............................................................................ 47. 4.4. Democratization after Marital Law Lifted ........................................................ 54. 4.5. Global Post-Cold War World Situation on Taiwan ......................................... 60. 4.6. Ethnicity, Gender & Class .................................................................................. 65. 4.7. Modernization ....................................................................................................... 75. 4.8. 治政大 Collective Memory .............................................................................................. 77 立 ‧ 國. 學. 5. Conclusion ....................................................................................................................... 85 Research Findings and Reflection ..................................................................... 86. 5.2. Suggestions of Future Studies ............................................................................ 89. ‧. 5.1. n. al. er. io. sit. y. Nat. Bibliography ........................................................................................................................... 92. Ch. engchi. i n U. v. V. DOI:10.6814/NCCU201900703.

(8) List of Figures Figure 4.1. The scene of Chi’s birth ............................................................................. 47. Figure 4.2. The statue of Chiang Kai-shek in the gate of elementary school ......... 48. Figure 4.3. The slogan ‘Loyalty to leaders, defend for country’ .............................. 48. Figure 4.4. The slogan ‘defend for home’ on the notice board in the school ......... 48. Figure 4.5. The slogan ‘being a good Chinese’ behind the door ............................ 48. Figure 4.6. Story of Chiang Kai-shek in the textbook ................................................ 49. Figure 4.7. Great man image of Chiang Kai-shek ...................................................... 49. Figure 4.8. Photo of Chi’s mother with former president Ma ................................... 49. Figure 4.9. Chi’s teacher with rattan whip ................................................................... 49. Figure 4.10. Teacher became monster, telling students not to speak in Taiwanese . 50. Figure 4.11. Chi’s classmate Hsu Wen-yueh wearing with a black watch ................ 50. Figure 4.12. Spoon-feeding education ............................................................................ 51. Figure 4.13. Chi, Betty and Sheng-en stood outside the classroom ........................... 51. Figure 4.14. The teacher said ‘if he doesn’t study how can he become successful’ 52. Figure 4.15. Cram schools near Taipei Main Station ................................................. 52. Figure 4.16. Chi entered in Taipei First Girls High School ......................................... 53. Figure 4.17. Chi’s parents expected Chi to be doctor................................................... 53. Figure 4.18. President Chiang Ching-kuo’s funeral ..................................................... 54. Figure 4.19. People protested at Presidential Palace .................................................... 54. Figure 4.20. Crowds shouted ‘Fight political persecution’ ....................................... 55. 立. 政治大. ‧. ‧ 國. 學. er. io. sit. y. Nat. al. Figure 4.23. Chi started to read Taiwan’s 400-Year History ....................................... 56. Figure 4.24. Chi joined the labor rights movement in her college ............................. 56. Figure 4.25. Chen Shui-bian was elected as Taipei Mayor ....................................... 56. Figure 4.26. Chi’s supervisor in Daily Times ................................................................ 57. Figure 4.27. The Union Business Building behind Chi................................................ 57. Figure 4.28. Chen Shui-bian won the president election in 2000 ............................... 58. Figure 4.29. Ma Ying-jeou won the president election in 2008 .................................. 58. Figure 4.30. Chi’s father listen to broadcast of DPP’s primary election ................... 58. Figure 4.31. TV’s Voices of students occupied the Legislative Yuan ....................... 58. Figure 4.21. n. Figure 4.22. v i n C hto abolish BetrayerUPunishment Act .................... 55 Students demanded engchi Taiwan’s 400-Year History by Su Beng .................................................. 56. VI. DOI:10.6814/NCCU201900703.

(9) Figure 4.32. The news report of 911 attack in U.S. ...................................................... 59. Figure 4.33. Chi saw Betty in the first time ................................................................... 60. Figure 4.34. Betty gave Chi chocolate as gift ................................................................ 60. Figure 4.35. Chi imagined about the U.S. ...................................................................... 61. Figure 4.36. Hsu went to the Disney land in U.S. ....................................................... 61. Figure 4.37. Poster of chocolate in WWII ..................................................................... 61. Figure 4.38. Betty’s father who was an American soldier ........................................... 61. Figure 4.39. Betty’s mother came back home after work ............................................ 62. Figure 4.40. Chi said that all her classmates went study abroad in NTU .................. 63. Figure 4.41. Chi studied abroad in the U.S. ................................................................. 63. Figure 4.42. Wen reported news on TV in the U.S. ................................................... 64. Figure 4.43. Wen’s mother said she couldn’t communicate with grandkids ............ 64. Figure 4.44. Wen’s child didn’t want to eat dumplings ............................................... 64. Figure 4.45. Betty’s aunt said that only savage chew betel nuts ................................. 65. Figure 4.46. Chi’s mother told granny not to eat betel nuts ........................................ 65. Figure 4.47. Chi said the Wu-feng’ s story in the textbook ......................................... 66. Figure 4.48. Image of indigenous people chopping off people’s head ...................... 66. Figure 4.49. Betty’s child got in the fight because they mocked Rusimi .................. 67. Figure 4.50. Betty dyed her blonde hair in black .......................................................... 67. Figure 4.51. The close-up shot of Chi’s father as a prince .......................................... 68. Figure 4.52. The low-angle shot of Chi’s father rescued her from a furious dog ..... 68. 立. 政治大. ‧. ‧ 國. 學. er. io. sit. y. Nat. al. Figure 4.55. Chi fantasied Wen as prince in the story .................................................. 69. Figure 4.56. Chi said ‘I want to find my prince, too’ ................................................. 69. Figure 4.57. Chi’s father sang the song A Gift of Love ................................................ 70. Figure 4.58. The TV program said that Jolin Tsai was the next contestant .............. 70. Figure 4.59. Chen Hsing-yu in high school ................................................................... 71. Figure 4.60. Daily Times reported the news about Chen Hsing-yu ............................ 71. Figure 4.61. Chi studied aboard in the U.S. ................................................................. 72. Figure 4.62. Books of Wu Chuo-liu on Chi’s desk....................................................... 72. Figure 4.53. n. Figure 4.54. v i n Chi fascinated byCthe U ........................................... 68 hplot e ningromance h i novel c The novel How Often It’s Red Sunset by Chiung Yao on Chi’s table . 68. VII. DOI:10.6814/NCCU201900703.

(10) Figure 4.63. Hsu Sheng-en’s scooter shop ..................................................................... 73. Figure 4.64. Chi’s mother said ‘A baby can bring you happiness.’ ........................... 73. Figure 4.65. Betty danced in the night club ................................................................... 74. Figure 4.66. Chi’s family on the truck with their luggage and furniture ................... 75. Figure 4.67. Chi loves the smell of manufacturing strawberry ................................. 75. Figure 4.68. The workers in the factory put the products into boxes ......................... 76. Figure 4.69. Chi looked at the building apartments and mansions ............................. 76. Figure 4.70. Chi’s mother assembled Christmas decoration to earn extra money ... 76. Figure 4.71. Chi looked at the Christmas tree for the first time in the U.S. .............. 76. Figure 4.72. The Christmas decoration beside the waterway ...................................... 77. Figure 4.73. Hsu Sheng-en was doing religious ritual ................................................. 77. Figure 4.74. Chi’s mother scolded Chi’s father spent money on lottery ................... 78. Figure 4.75. Hsu Sheng-en, Betty and Chi let go of pigeons ...................................... 78. Figure 4.76. The Tatung’s Doll in Chi’s living room ................................................... 78. Figure 4.77. Tatung’s doll and the automatic cooker ................................................... 78. Figure 4.78. Five Lights Award on TV’s screen ........................................................... 79. Figure 4.79. Five Lights Award ....................................................................................... 79. Figure 4.80. The comedian Chu Ko-liang on TV ......................................................... 79. Figure 4.81. Chu Ko-liang ................................................................................................ 79. Figure 4.82. The little Tigers’ poster on the wall in Betty’s room ............................. 80. Figure 4.83. Chen Hsing-yu said she likes to watch Andy Lau’s drama ................... 80. Figure 4.84. Betty passed through Taipei Main Station ............................................... 80. 立. 政治大. ‧. ‧ 國. 學. er. io. sit. y. Nat. al. Figure 4.87. Presidential Palace....................................................................................... 81. Figure 4.88. Chi’s grandfather took Chi’s father from Liuqui to Kaohsiung............ 81. Figure 4.89. Lotus Pond Lianchihtan in Kaohsiung ..................................................... 81. Figure 4.90. Drainage ditch where Chi used to play near her home .......................... 81. Figure 4.91. Drainage ditch in Xinzhuang ..................................................................... 81. Figure 4.92. Chi walked through the cram school street near the Taipei Station ..... 81. Figure 4.93. Cram school street near the Taipei Station .............................................. 81. Figure 4.94. Lightning scar on Wen’s forehead ............................................................ 82. Figure 4.95. Harry showed the lightning scar on his forehead to Ron ....................... 82. Figure 4.96. Chi watched The Graduate on TV ............................................................ 83. Figure 4.97. Benjamin and Elaine on the bus after from the wedding ....................... 83. Figure 4.85. n. Figure 4.86. v i n C h..................................................................................... Taipei Main Station 80 engchi U Chi and her classmate ran in front of the Presidential Palace ............... 81. VIII. DOI:10.6814/NCCU201900703.

(11) List of Table Chi’s Life corresponded to Taiwan’s situation ....................................... 45. 立. 政治大. 學 ‧. ‧ 國 io. sit. y. Nat. n. al. er. Table 4.1. Ch. engchi. i n U. v. IX. DOI:10.6814/NCCU201900703.

(12) Chapter 1. Introduction 1.1. Research Motivation. Last year, I had my internship at Public Television Service Foundation and I was assigned to assist Taiwan International Children’s Film Festival (TICFF). I always wonder what is the difference between animation for children and adults in my internship. The Breadwinner (戰火下的小花，2017) was chosen as the opening film in TICFF 2018 to respond to the theme of belief and hope. 1 In this film, children can learn the protagonist’s spirit of courage under the tough condition. The adults can bring. 治政大 It renewed my perspective out the discussion of Afghanistan condition with children. 立 ‧ 國. 學. toward animation that brought deeper impact than other cartoons or animation I watched in my childhood. Documentary or live action feature film is not the only film. ‧. genre to present the historical path. I am fascinated by the way of using animation as a. Nat. sit. y. new way to present a complicated history and it is further accepted by different. n. al. er. io. generation and foreigners.. Ch. engchi. i n U. v. Then, I happened to have a chance to watch On the Happiness Road (幸福路上，2018) in a private screening. After watching the film, I felt that I had a time travel in the past 30 years of Taiwan and recalled many memories of this small island I live. It was the first time I saw Taiwanese animated film integrate with lots of political elements. At the end of the movie, the director dedicated this film to her family and her homeland. I was overwhelmed by her dedication that we actually shared the same memory and the past. For me, it is an outbreak to watch this kind of animated film in Taiwan. It gave 1. According to official website of TICFF: http://www.ticff.org.tw/About/Archive. 1. DOI:10.6814/NCCU201900703.

(13) me the similar feeling as I watched The Breadwinner. It forced me to throw back the past of my nation and the influence of history on me.. For this reason, it triggered my interest toward this animated film and tried to understand the development of Taiwanese animated films. As a Taiwanese audience, I was drawn to the story itself, character design, art, music or paintings, and on the top of that the identity of being a Taiwanese. Thus, it is crucial for me to discover what are represented in this film in terms of the development of post-colonialization,. 治政大to further understand how the globalization and modernization in Taiwan. I would like 立 ‧ 國. 學. director reconstructs the history in this animated film and recalls the collective memory of Taiwanese audience. Therefore, in the following research, I would like to discuss. ‧. this animated film thematically by the reason of its various social issues in Taiwan. n. al. er. io. sit. y. Nat. history.. Ch. engchi. i n U. v. 2. DOI:10.6814/NCCU201900703.

(14) 1.2 Research Background 1.2.1 Historical Overview of Democratization Process in Taiwan From the historical perspective, Taiwan has been undergoing with the condition of complex national and historical identity under different regime. Briefly, the occupation of Taiwan began with the Dutch colonists from 1624 to 1661 and followed by the two hundred years of Qing dynasty’s administration from 1683 to 1895. Later, the Japanese came to occupy between 1895 to 1945 and KMT ruled over the island after WWII (Huang, Wu & Chang, 2011) 2. In this research, I would like to focus on the discussion of the colonial period. 治政 of Taiwanese history for 大 the past 立. ‧. ‧ 國. 學. democratization process after 1987.. 100 years and the. When Japanese colonial government surrendered after WWII, Taiwan was taken by the. Nat. sit. y. control of the KMT government. With the withdrawal of Japanese forces, Taiwanese. n. al. er. io. originally expected to have more autonomy and participation in politics. But the fact is. i n U. v. that the KMT government even oppressed than Japanese. With the language and. Ch. engchi. ethnicity differences, it resulted in conflicts between domestic Taiwanese and Chinese mainlanders afterwards. Due to these factors, the February 28th Incident in 1947 happened and was regarded as the massive confrontation of the government and the people (Huang, Wu & Chang, 2011).. 2. 黃秀政、吳文星、張勝彥（2011）。《臺灣史》。臺北市：五南。. 3. DOI:10.6814/NCCU201900703.

(15) Martial law was firstly declared in 1947 for dealing with the February 28th Incident. Later in 1949, the KMT government retreated to Taiwan for losing the war against the Communist Party in China and declared Martial Law again which lasted thirty-eight years. In the period of implementing Martial Law, the freedom of speech and human rights of Taiwanese people are restrained. People were forbidden to express their real opinions freely, organize individual political parties and publish newspapers. The government had even set up the Taiwan Garrison Command to inspect people’s daily life such as entertainment, appearance and clothing. The government censored the. 治政大 to propagate government content of mass media and in turn to control mass media 立 ‧ 國. 學. policy. It prohibited any statement or behavior that criticized the government and ignored the diversity of domestic Taiwanese culture. The political control of the. ‧. government restricted citizen’s free will and sent dissidents to prison, executed, or. Nat. sit. y. exiled. Under suppression of this policy, the whole Taiwanese society lived in a tensive. n. al. er. io. terror and strong uncertainty which is called White Terror Era (Chen, 2010) 3.. Ch. engchi. i n U. v. Furthermore, Taiwan was politically isolated in globe and a closed society under the control of Martial Law. In 1970s, there were many dynamic changes on political, economic and cultural aspects. Firstly, it faced with a series of diplomatic frustration internationally that Taiwan is forced to withdraw from the member of UN in 1971, later the United States signed Three Communiques with People's Republic of China from 1972 to 1982 (Huang, Wu & Chang, 2011). After then, there was the termination of. 3. 陳佳宏（2010）。《鳳去臺空江自流：從殖民到戒嚴的臺灣主體性探究》。臺北市：博揚文化。. 4. DOI:10.6814/NCCU201900703.

(16) diplomatic relations with Japan in 1972 and the United States in 1979. Taiwan became a political orphan in globe. With continuous political and diplomatic crisis, it caused the instability of economy in nation and a sense of uncertainty in society (Lu, 1998, p. 112)4. In order to deal with this condition and the threat from China, the government produced propaganda film to calm down people’s mind. The main themes of those propaganda film were to promote the national pride and people’s identification with the KMT government. However, this kind of content is only finding the past memory of victory in the history, in order to forget the frustration in reality and establish a mental. 治政大 defense mechanism (Lu, 1998, p. 113). 立 ‧ 國. 學. Taiwanese intellectuals were frustrated because of a series of diplomatic setbacks in the. ‧. world and the transformed attitude of the U.S under Cold War period. It stimulated. Nat. sit. y. them to have a realization of their own culture. The intellectuals began to raise their. n. al. er. io. attention toward the lower-class people in society such as farmers, fishermen, and. i n U. v. workers which became the themes for the Taiwanese nativist literature (Wang, Lin, Hsu. Ch. engchi. &Ren, 2019).5 For instance, the Sandwich Man (in Chinese: 兒子的大玩偶，1969) by novelist Huang Chun-ming (黃春明) depicted the hardships of the common people who struggled under the reality as well as the process of Taiwanese society transformed from the agricultural society into a modern and civilized society (Wang, Lin, Hsu &Ren, 2019). The poet Wu Sheng (吳晟) wrote poems Soil (泥土，1979) to depict his mother. 4 5. 盧非易（1998）。《台灣電影：政治、經濟、美學，1949-1994》。臺北市：遠流出版事業股份有限公司。王智明、林麗、徐秀慧、任佑卿（2019）。《回望現實‧凝視人間：鄉土文學論戰四十年選集》。臺北市：聯合文學。. 5. DOI:10.6814/NCCU201900703.

(17) who worked as a farmer and kept the spirit of perseverance. He also stated that he only “wrote about Taiwanese people, depicted Taiwanese things, painted Taiwanese scenery and expressed Taiwanese emotions” (Lin, 2005, p,27)6.. Not only the intellectuals had the alternative feedback about the global situation, but also the Taiwanese youth gradually began to change. They turned to assert their own distinct cultural identities and had the thought of “sing our own songs” which is regarded as the Taiwanese campus folk song movement (台灣校園民歌運動). It. 治政 became a new genre of Taiwanese music with its roots 大 as student songs from the 1970s 立 ‧ 國. 學. to 1980s. Mostly folk songs sang about the themes of the meditation on the past, Taiwanese daily life, childhood, love or friendship. For instance, the most. ‧. representative folk songs are Granny's Penghu Bay (外婆的澎湖灣) by Pan An-ban(潘. n. al. Ch. engchi. er. io. Childhood(童年) by Lo Da-yu (羅大佑)(Chang, 2003)7.. sit. y. Nat. 安邦 ), Descendants of the Dragon ( 龍的傳人 ) by Lee Chien-fu ( 李建復 ) and. i n U. v. Though the domestic culture under the control of the KMT government was forced to use mandarin, a group of people began to express their identity as Taiwanese. In the face of the suppressive ruling authorities, there are still many Taiwanese intellectuals seeking the methods to break through the martial law system as well as pursuing freedom and democracy. There is gradually voice of urging democratization appeared. 6 7. 林明德（2005）。＜鄉間子弟鄉間老—論吳晟新詩的主題意識＞，《國文學誌》，10：27-56。張釗維（2003）。《誰在那邊唱自己的歌：1970 年代台灣現代民歌發展史》。臺北市：滾石文化股份有限公司。. 6. DOI:10.6814/NCCU201900703.

(18) around 1980s. Intellectuals began to demand the rights of political reform and the rights of freedom of speech. Along with the time, the power kept growing (Chen, 2000)8.. The Formosa Incident in Kaohsiung (高雄美麗島事件) happened in 1979 which was the most massive confrontation between the government and the people during the period of Martial Law. Members of Formosa Magazine gathered people and demanded democracy and freedom. It is a critical and historical incident which influenced the Taiwanese citizens paying more attention to politics and challenged the KMT. 治政 government. Later, A new political party Democratic大 Progressive Party (DPP) was 立 ‧ 國. 學. founded in 1986 which aimed to advocate the independence of Taiwan and other civic social movements. The unstoppable urge of liberation and human rights from people. ‧. forced the government to abolish the Martial Law in 1987. With this trend of pursuing. Nat. n. al. er. io. sit. y. democracy, the democratization process of Taiwan reached a new stage (Chen, 2000).. i n U. v. Since the lifting of martial law, Taiwan has undergone a period of rapid. Ch. engchi. industrialization and democratization which has changed the face of Taiwanese society. The power of the economic development is also stimulated by the process of democratization. The society becomes prosperous so that the political awareness and civic consciousness are gradually rising. The campus became the place for gathering the social power and the Wild Lily Student Movement (野百合學運) broke out in 1990. Participation of this movement quickly grew to 22,000 demonstrators and they. 8. 陳鴻瑜（2000）。《台灣的政治民主化》。臺北市：翰蘆圖書。. 7. DOI:10.6814/NCCU201900703.

(19) demanded the rights to have direct elections of Taiwan's president, vice president and replaced the representatives in the National Assembly. The government took measures and had a revolution on its legislation due to this movement (Hsu, 2016)9. Moreover, Taiwan Independence Association Movement ( 獨台會案 ) occurred in 1991. The Ministry of Justice Investigation Bureau arrested five people in National Tsing Hua University by reason of offenses against the internal security of the state with the legislation of Capital punishment in Taiwan (懲治叛亂條例) and further accused them death penalty. Nevertheless, five of them didn’t have any practical action of violence,. 治政 but only read the book Modern History of Taiwanese in大 400 Years (台灣人四百年史) 立 by the Taiwanese independence pioneer Su Beng’s (史明). It erupted a sequence of. ‧ 國. 學. political confrontation and students protested at Taipei Main Station. Under the citizens’. ‧. pressure, the government finally abolished Capital punishment in Taiwan. Students. Nat. sit. y. were innocent of all the charges against them and advocated the freedom of speech in. n. al. er. io. Taiwan (Hsueh, 2004) 10 which can be also examined in the case study of On the Happiness Road.. Ch. engchi. i n U. v. As Taiwan’s democratic consciousness awakened, people stood up to appeal their need. Most of the people in Taiwan were working class and labor rights issues often controlled by the government or employers. Labor unions movement was suppressed under the political power of Lee Teng-hui(李登輝) during 1989 to 1996. In order to maintain livelihoods and protect labor’s right, Taipei Trade Unions and trade unions in. 9. 許伯鑫（2016）。《衝撞世代：由街頭運動見證台灣民主歷史的重要時刻》。臺北市：尖端出版。. 10. 薛化元（2004）。《戰後臺灣民主運動史料彙編十二：言論自由（四）》。臺北市：國史館。. 8. DOI:10.6814/NCCU201900703.

(20) other counties gradually formed in 1994. Taiwan Confederation of Trade Unions put in place in 1997 against the government for labor rights and organized several labor movement (Chiu, 2016).11. In 2000, Chen Shui-bian(陳水扁) from DPP won the presidential election. There was the first political party alternation in Taiwan which also ended the rule of the KMT government in the past fifty years. But Ma Ying-jeou(馬英九) from KMT was elected as President from the term 2008 to 2016. Later, Sunflower Student Movement (太陽花. 治政大 the trade pact with the 學運) occurred in 2014. The Sunflower protesters perceived 立 ‧ 國. 學. People's Republic of China would hurt Taiwan's economy and strengthened political influence from China. It was the most massive civil disobedience movement after Wild. ‧. Lily Student Movement. At last, the political movement from people advanced the. Nat. sit. y. government to make changes and adjust legislation. With continuous confrontation and. n. al. er. io. communication between government and citizens, it helps Taiwan to go on the path of becoming a more democratic island (He, 2014)12.. 11. Ch. engchi. i n U. v. 邱毓斌（2016）。＜政黨輪替與勞工運動：民進黨執政時期下的自主工運＞，《變遷與整併：南台灣的發展危機、轉. 型與重生》，55-68。 12. 何榮幸（2014）。《學運世代: 從野百合到太陽花》。臺北市：時報文化出版。. 9. DOI:10.6814/NCCU201900703.

(21) 1.2.2 Historical Overview of Modernization Process in Taiwan Aspalter (2017) defined modernization as in the aspects of scientific revolution, democratization on politics, industrialization on economy, urbanization in society, liberalization on ideologies, and humanization on culture. Within this concept, Taiwan has transformed into a modernized society successfully by facing the issue of national identity, the factors behind political liberalization and democratization, labor movement, the emergence of social movements that promote new social policies, and the impact of democratization on welfare state politics (Aspalter, 2017).. 立. 政治大. ‧ 國. 學. As different colonial governments had taken over Taiwan, the economy of Taiwan had experienced a distinctive development from the agricultural society toward industrial. ‧. society. Taiwan was considered to be an agriculture society before 1970s, and the. Nat. sit. y. economy developed rapidly after that. Taiwan had attracted foreign investment and. n. al. er. io. technology while the developed countries required to transfer labor-intensive industries. i n U. v. to developing countries. It utilized cheap labor as advantages to adjust economic. Ch. engchi. development strategies. The economy developed rapidly and also became one of the leading countries in East Asia. Taiwan even became one of the Four Asian Tigers along with South Korea, Singapore and Hong Kong (Lu, 2001, p.5)13.. Two factors which supported early period of KMT government to stabilize the economy in Taiwan after WWII that is the help of well-constructed basic foundation left by the Japanese colonial government and with the economic assistance provided by the United 13. 盧漢超（2001）。《台灣的現代化和文化認同》。臺北市：八方文化企業公司。. 10. DOI:10.6814/NCCU201900703.

(22) States. Even though there is a politically closed and suppressed society before 1987, Taiwan had a rapid economic growth under the tight control of the KMT government’s autocracy (Qu, 2017)14.. After that, the government set up the first export processing zone to increase the income of international trade in 1962. Due to the economic policy in Taiwan, Taiwanese businessmen engaged in trade around the world. Products were processed in Taiwan and exported overseas. It increased the need for labor force and further provided many. 治政大 room is factory” (客廳即 job opportunities for Taiwanese female. The slogan “living 立工廠) widely spread to show the importance of Taiwanese female’s labor force in this. ‧ 國. 學. period. Also, the KMT government implemented the nine-year compulsory education. ‧. in 1967. This education system gave Taiwanese female a chance to emerge in the. Nat. sit. y. society that also contributed to the rising of female status in the society in the future.. n. al. er. io. With the improvement of education, it strengthened the self-awareness of female and. i n U. v. helped them to engage in political participation afterwards (Lu, 2001, p.137).. Ch. engchi. Moreover, in order to deal with the oil crisis, the government promoted the Ten Major Construction Projects in 1973 which established a great basis for the industrial development. It had built up international airport, railways, highways and ports for the transportation, and even developed the nuclear power at this time. Later, it further founded the Science Park in Hsinchu in 1979 to encourage foreign cooperation to invest in local technology industry which transformed the economic structure of Taiwan. 14. 瞿宛文（2017）。《台灣戰後經濟發展的源起：後進發展的為何與如何》。臺北市：聯經出版公司。. 11. DOI:10.6814/NCCU201900703.

(23) After abolishment of Martial Law, it lifted the ban on newspaper. Along with time, restriction of people and regulation loosened. The numbers of newspapers, TV stations and magazines had dramatically raised. With the expansion of massive communication tools, people’s freedom of speech also increased. The diversity of media increased civic participation and it played an important role in assisting the progressive democratization and modernization in Taiwan (Wang, Lee & Kung, 2008) 15.. 立. 政治大. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. 15. Ch. engchi. i n U. v. 王宏仁、李廣均、龔宜君（2008）。《跨戒：流動與堅持的臺灣社會》。臺北市：群學出版股份有限公司。. 12. DOI:10.6814/NCCU201900703.

(24) 1.3. Research Goal & Research Questions. On the Happiness Road is a pioneer animated work in terms of political implications and records part of the modernization in Taiwan, but it is still a fictional and commercial film. The director has simplified the complicated historical events in Taiwan, hoping to make the story easily understood by most of the audience. Therefore, I only point out and explain these important moments of Taiwan. On the Happiness Road utilized different Taiwanese presidential terms to bring up the past historical events, and it further corresponded to Chi’s life story. Due to this reason, in this research, I focus. Therefore, I propose three research questions as followings:. 學. ‧ 國. 治政大of film. more on the content of the film itself instead of the form 立. ‧. 1: How do Taiwanese animated films manifest socio-cultural aspects of Taiwan and its. Nat. sit. y. historical development?. n. al. er. io. 2: How does the animated film On the Happiness Road reflect the modernization traces of Taiwan?. Ch. engchi. i n U. v. 3: From the story of On the Happiness Road, what kinds of symbols, signs or filmic elements do the director use to reconstruct or recall the “collective memory” of the audience?. In order to answer these three questions, I choose some issues as study themes such as education under the White Terror, the democratization after Martial Law, Global postCold War world situation on Taiwan, ethnicity, gender, class, modernization and collective memory. 13. DOI:10.6814/NCCU201900703.

(25) The purpose of this study is intended for the readers who are not familiar with the history of Taiwan. The research aims to analyze the animated film On the Happiness Road on how the director tries to reconstruct the path of modernization of Taiwan and further recall the collective memories of the Taiwanese audience under its complex historical background, as described in previous sections.. 立. 政治大. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v. 14. DOI:10.6814/NCCU201900703.

(26) 1.4 Structure of Chapters There are five chapters in this thesis. The focus of Chapter One is to understand the historical background of the democratization process in Taiwan. It further discusses the modernization process in Taiwan from the agricultural society toward industrial society from the perspective of political, economic, national level.. In the Literature Review of Chapter Two, it discusses the relationship between Taiwanese cinema and changes in the society. In order to understand how On the. 治政 Happiness Road appeared in the flow of Taiwanese大 animated film history and its 立 ‧ 國. 學. meaning, it focusses on the historical development of Taiwanese animated films and some examples reflected the Taiwanese society from different period. Then, it discusses. ‧. the similar cases with On the Happiness Road and the past study related to On the. Nat. sit. y. Happiness Road. Last, it brings up concept of collective memory to further understand. n. al. er. io. the cultural collective memory of different generations in Taiwan.. Ch. engchi. i n U. v. For Chapter Three, I introduce how this research is implemented. The research uses textual analysis to discuss On the Happiness Road from the elements of film and analyze its modernization traces reflected in the story. The research incorporates with analyzing the symbols in semiology to discuss how social, political and cultural issues embedded inside this text and further analyze what different themes being reflected about Taiwanese society.. 15. DOI:10.6814/NCCU201900703.

(27) The Chapter Four is the main focus of the thesis. In section one, it provides the background information of director and her producing process of On the Happiness Road. Then, in section two, it is the storyline of On the Happiness Road. Later, I explore different issues reflected in the film such as the education under the White Terror, the democratization after Martial Law, Global post-Cold War world situation on Taiwan, ethnicity, gender, class, modernization and its collective memory.. Chapter Five is the conclusion of thesis which answers the research questions raised in. 治政 Chapter One and discusses the limitation as well as the 大 contribution of this study. Last, 立 ‧. ‧ 國. 學. it is the suggestions for the future studies.. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v. 16. DOI:10.6814/NCCU201900703.

(28) Chapter 2. Literature Review 2.1 Taiwan Cinema Under Cultural and Historical Context Taiwan cinema is strongly affected by the Taiwanese social and cultural development. Thus, in order to understand the significance of Taiwan cinema, it’s essential to look back to the historical traces of Taiwan and understand the complicated national identity with its postcolonial background. Taiwan’s complex historical power, forces and dynamics, all of which transform and mold the nature and practices within contemporary Taiwan society. In specifically identifying the condition of Taiwan,. 政治大. scholars such as Liao (1999) have argued that Taiwan is in a state of “postcolonialism”. 立. which refers to a particular stage in its narrative of “collective memory retrieval and of. ‧ 國. 學. nation rebuilding” (Liao, 1999, p.201). According to Liao, it is associated with Taiwan. ‧. having a history with different periods of “foreign and domestic colonial cultures- the. er. io. sit. y. Nat. Netherlands, Spain, China, Japan and KMT” (Liao,1999, p.200).. Due to its complicated historical development in Taiwan, people in Taiwan had. al. n. v i n encountered the problem of whoCthey are, some express h e n g c h i Ua clear position as Taiwanese, whereas some are sentimentally attached to the identity of Chinese. The divergence resulted in identification crisis in the whole society (Lu, 1998, p. 227). There are still complex changes in “freeing itself from Japanese colonial legacies and American neocolonialism” for Taiwanese people (Liao, 1999, p,199), Moreover, this condition is more problematic by the fact that “Taiwan is still uncertain about its own identity and destiny” (Liao, 1999, p.299). Also, the relationship with China is further complicated, in which “colonialism is also coupled with Chinese nationalism” (Liao, 1999, p.203). From the past till nowadays, Taiwanese people tried to find their own status as 17. DOI:10.6814/NCCU201900703.

(29) Taiwanese. There is more or less implied anxiety of national identification reflected in Taiwanese cinema. Taiwan cinema reflects the complicated identification and reveal postcolonial issues in Taiwan (Yeh & Dai, 2016)16.. For example, A City of Sadness (悲情城市) in 1989 is a breakthrough in that it is the first Taiwanese cinema depicted identity problems in Taiwan and the February 28th Incident. Director Hou Hsiao-Hsien(侯孝賢) depicted a story of a family and through what had happened to those family members to reflect changes of a nation and its. 治政大p.71) historical destiny as a political allegory (Chen& Lo, 1993, 立. 17.. ‧ 國. 學. On the other hand, A Brighter Summer Day (牯嶺街少年殺人事件，1991) by director. ‧. Edward Yang (楊德昌), started from perspective of mainlanders to depict the contrast. Nat. sit. y. of two generations to show vague attitude of identification which also reflected the. n. al. er. io. identification of the majority in society that most people don’t have a clear position.. i n U. v. They lived in their in-closed community and constantly had the confrontation with. Ch. engchi. Taiwanese. The second generation of mainlanders stayed in a dilemma that they didn’t have the goal to identify themselves. Moreover, the Puppetmaster (戲夢人生，1993) by director Hou Hsiao-Hsien went back to the colonial experience of Taiwan from Japanese regime and the complicated national identification of being Han Chinese (Lu, 1998, p. 231).. 16. 葉月瑜、戴樂為（2016）。《台灣電影百年漂流: 楊德昌、侯孝賢、李安、蔡明亮》。臺北市：書林出版有限公司。 17. 陳儒修、羅頗誠（1993）。《台灣新電影的歷史文化經驗》。臺北市：萬象圖書股份有限公司。. 18. DOI:10.6814/NCCU201900703.

(30) In 1980s and 1990s, the Taiwanese cinema in this period has a reform movement and the style of the film is mainly realistic. It was regarded as Taiwan New Cinema Movement (TNC) that its theme pressed close to reality and the society through looking into the real life of people. The film In Our Time (光陰的故事，1982) by directors Jim Tao (陶德辰), Edward Yang(楊德昌), Ko I-chen (柯一正) and Chang Yi(張毅) is the first and the most representative film work in TNC. The film tells the story about different four stages of life, the growing experience of people, the changes of interpersonal relationships and most importantly it was also the transition in Taiwan's. 治政大 society in the past 30 years (Yeh & Dai, 2016). 立 ‧ 國. 學. In Taiwan cinema, there is a strong relation between the content of the film and the. ‧. development of Taiwanese society. Embedded with historical footprints and post-. Nat. sit. y. colonial experience in Taiwan cinema, those film opened the opportunity for the. n. al. er. io. audience to connect themselves with the island and reconsider their position or. i n U. relationship with the film itself (Chen＆Lo, 1993, p.51).. Ch. engchi. v. 19. DOI:10.6814/NCCU201900703.

(31) 2.2 A Brief Introduction of Taiwanese Animated Films Taiwanese animated film industry has experienced a dynamic change till nowadays. In 1970s and 1980s, as Japanese animation company such as TOEI animation company and U.S. animation company began to seek for Original Equipment Manufacturer (OEM) of animation overseas, Taiwan becomes the priority choice (Hwang & Yu, 1997, p.196) 18 . During this period, Taiwan had become the largest animation production center that even produced the amount of one third animation work in the world. Wang Film Productions(宏廣公司) was mainly in charge of OEM production for American. 治政大In the peak of Wang Film animation such as Walt Disney and Hanna Barbera. 立 ‧. ‧ 國. 學. Productions, it produced over 250 animation per year (Zhou, 2006). 19. However, there were still creators trying to produce original animation in Taiwan at the. sit. y. Nat. same time. For instance, Chinese Cartoon Production Company ( 中華卡通公司). n. al. er. io. produced animated film such as Journey to the West (西遊記，1971) and Investiture of. i n U. v. the Gods (封神榜，1973) and Three Kingdoms (三國演義，1979). The theme of original. Ch. engchi. animated films in this period was mainly taken from folktales; nevertheless, it emphasized much more on the special effects or grand spectacle than cultural meaning itself. At that time, it was still not able to create animated film that was equipped with both artistic and commercial feature (Shih, 2005).20. 18 19. 黃玉珊、余為政（1997）。《動畫電影探索》。臺北市：遠流出版事業股份有限公司。卓文惠（2006.09.28）。＜華人世界的迪士尼，宏廣公司為我們創造＞。取自「台灣電影網」網頁. http://www.taiwancinema.com/Articles/ArticlesContent/?ContentUrl=52670 20. 石昌杰（2005.07.07）。＜台灣動畫創造力＞。取自 http://maa.ntua.edu.tw/labs/animation_center/in_content.htm. 20. DOI:10.6814/NCCU201900703.

(32) With the rapid growth of economy in 1990s, the wages in Taiwan raised and caused the increased production costs of the OEM in animation industry. In order to save costs, animation factories in Taiwan were forced to be relocated to other places with cheaper labor such as China and Southeast Asia (Huang, 2006).21 Losing superiority in the global market of OEM of animation and the lack of enough funds, the animation industry in Taiwan turned to look new way out in original theme of local. Government Information Office (GIO) provided funds to assist Taiwanese animation companies (Chang & Shih,. 2017). 22. 治政大 from government and the With the financial assistance 立. ‧ 國. 學. transformation in animation industry, there are several animated works that focus on local culture such as Grandma and her ghosts (魔法阿媽，1998), Ka Va Lan (少年噶. ‧. 瑪蘭，1999) and Mazu (海之傳說：媽祖，2007). Even though these films also used. Nat. io. reveals current social development in Taiwan.. n. al. Ch. engchi. er. sit. y. local culture, folktales and beliefs as their themes, it conveys deeper significance and. i n U. v. The followings are the brief summary of those animated film. Grandma and Her Ghosts (1998) (魔法阿媽) Grandma and Her Ghosts can be considered as one of representative Taiwanese animated films in recent years. It is directed by Wang Shau-di (王小棣) who founded Rice Film Company (稻田電影工作室) in 1992. Variety commented on the film that “it creates lively vibe and reverses the traditional customs understandable by the youth”. 21 22. 黃貞維（2006）。＜臺灣動畫產業背景解析＞，《新社會政策》，48：10-14。張晏榕、石昌杰（2017）。〈台灣動畫十年〉。《給下一輪台灣數位藝術的文件：2006-2016》。台北市：典藏藝術家庭。. 21. DOI:10.6814/NCCU201900703.

(33) (Wang, 2006, p.205).23 This film described a story between a little boy Dou Dou and his grandmother who has the magical power to communicate with ghosts. He made a trade with the evil spirit to sell his grandmother by collecting three tears, but after experienced a series of mysterious incidents, he started to change his mind and emotions toward his grandmother. In the end, he grew up and altered his attitude toward his grandmother (Wang, 2006, p.198).. Grandma and her Ghosts is based on the background of Taiwanese local customs and. 治政大by offering foods toward the religious beliefs to introduce the Ghost Festival(中元節) 立 ‧ 國. 學. ancestors and opening gate to underworld so that the ghosts can wander around in living world. The theme of this film is very diverse which depicted ghosts and folktale in. ‧. Taiwanese religion. It also combined the interaction of family members, friendship and. Nat. n. al. er. io. sit. y. adventure of a naughty boy growing up into a brave hero.. i n U. v. Also, from the contrast of the city and countryside at the beginning of this film, it. Ch. engchi. reveals the modernization process of Taiwan in different areas (Wang, 2006, p.200). The evil ghost used its power to swallow up other weak spirits which can also be seen as an allegory of the selfishness in the human world. The battle of Dou Dou and the evil ghost can be regarded as purity against evil. The film was well-received by many Taiwanese audience to further create resonance for the family, Taiwanese people and their community (Wang, 2006, p.200).. 23. 王小棣（2006）。《魔法阿媽，我把阿媽變卡通了》。臺北市：麥田出版股份有限公司。. 22. DOI:10.6814/NCCU201900703.

(34) Ka Va Lan (1999) (少年噶瑪蘭) Ka Va Lan was produced by Hong Kong Animation Company in 1999, which was also co-founded by director Kang Jin-ho(康進和) and PTS. It is adapted by Lee Tung’s(李潼) novel which described an adventurous time travel of a teenager based on the culture of indigenous tribe Ka Va Lan. From the confrontation and the interaction between different generations, he finally realized the belief of his ancestors and his tribe that hold the respect toward the nature and keep protecting the environment (Shih, 2010).24. 政治大. 立. ‧ 國. 學. The animated film Ka Va Lan attempted to make the connection with the past 200 years of Taiwanese history, the relationship with local people and culture of Ka Va Lan tribe.. ‧. In this film, it reveals the ecological crisis created by modern society from the change. Nat. sit. y. of the past to current northern-east of Taiwan. It also discussed the issue of preservation. n. al. er. io. of cultural authenticity.. Ch. Mazu (2007) (海之傳說：媽祖). engchi. i n U. v. In 2000s, animation production had changed from hand-painting to 3D painting. It created content in digital way which is also a turning point of Taiwanese animated film. Mazu is produced by director Lin Shi-ren( 林世仁 ) and the Chinese Production Company (中華卡通公司) in 2007. It utilized the technology of both 2D and 3D painting of animation and adapted by the traditional folktale of the Chinese goddess of. 24. 石昌杰（2010）。《逐格造夢：台灣動畫歷史、記錄與論述》。臺北市：臺北市政府文化局。. 23. DOI:10.6814/NCCU201900703.

(35) sea Mazu and was released in English, Spanish, Mandarin and Taiwanese version. This film mainly depicted the adventurous story of Mazu turned from the mortal to become the goddess of sea. It links the origin of Mazu with the local religion and folktale in Taiwanese society (Deng, 2007).25. In the process of promoting this animated film, it also cooperated with the Dajia JennLann Temple(大甲鎮瀾宮) in Taichung County which is the most renowned Mazu temple in Taiwan to market several film-related products such as T-shirt, stamps and. 治政 dolls. Moreover, the statue of Mazu also participated大 in the screening of film and 立 ‧. ‧ 國. 2007).26. 學. created a special event of the Taiwanese animation industry and local religion (Sung,. Nat. sit. y. Overall, as the above-mentioned animated film, there is already several animated film. n. al. er. io. in Taiwanese animation industry that has presented certain socio-cultural aspects of. i n U. v. Taiwan. Taiwanese animators are devoted to integrating the core value of people’s. Ch. engchi. relationship, folk tradition and cultural heritage with local to create the intimacy with the audience. But they seldom involved with the economic and political aspect in their animation creation which reflected the depoliticization of Taiwanese animation. Since the international status of Taiwan is continuously marginalized by the oppression of. 25. 鄧亞剛（2007）。《「海之傳說－媽祖」動畫製作流程》。臺北市：中華卡通製作有限公司。. 26. 宋秉忠（2007.04.19）。＜靠大甲媽做生意千萬鈔票入袋＞。取自「今周刊」網頁. https://www.businesstoday.com.tw/article/category/80408/post/200704190019/%E9%9D%A0%E5%A4%A7%E7%94%B2%E5%AA% BD%E5%81%9A%E7%94%9F%E6%84%8F%20%20%E5%8D%83%E8%90%AC%E9%88%94%E7%A5%A8%E5%85%A5%E8%A 2%8B%20P.112. 24. DOI:10.6814/NCCU201900703.

(36) China, Taiwan is excluded from the international community. It resulted in the fact that Taiwanese lack of clear national identity. The government, politicians, media, and the public only putting enthusiasm of political affairs inside island, whereas Taiwanese are self-forgotten or self-exiled outside the world. This situation is rooted in Taiwan's specific historical and socio-political context. Also, it may be the reason that the Taiwanese animated film neglect the political description of situation in Taiwan and had the condition of depoliticization.. 治政大 audience only brought out At the same time, when it comes to animation, Taiwanese 立 ‧ 國. 學. the image of entertaining American and Japanese animation in their mind. People underestimate the potential of this new genre of animation. Even though this kind of. ‧. animation are more considered to be released in film festival and strengthen its artistic. Nat. sit. y. feature than commercial. However, it even can break the limitation of live-action. n. al. er. io. feature film. Thus, in this research, I would like to discuss On the Happiness Road. i n U. v. which differed from the past Taiwanese animated films and figure out the its sociocultural meaning.. Ch. engchi. On the Happiness Road (2018) (幸福路上) On Happiness Road is a story produced by director Sung Hsin-yin (宋欣穎) based on her own life experience. It is also a story for the epitome of a generation about 30 years in Taiwan. Through a female main character Lin Shu-chi(林淑琪) who was born in 1975, the film represented Chi's growth under various changes of the times. With Chi's. 25. DOI:10.6814/NCCU201900703.

(37) self-searching, she experienced the process of pursuing self-identity and the struggling of trying to figure out what is the real happiness for her.. The animated film On the Happiness Road won three prizes in 2018 Taipei Film Festival as well as the Best Animation Award in 55th Taipei Golden Horse Film Festival. It is released in many countries and has been awarded in at least 12 international film festivals and received recognition overseas. Although On the Happiness Road is widely acclaimed, the box office is only NT 12.5 million.27 It seems. 治政 that it is more likely to be an art-oriented animation大 and it is harder for ordinary 立 ‧. ‧ 國. 學. audience to accept.. Nevertheless, the French newspaper La Croix (2018) commented On the Happiness. sit. y. Nat. Road “through a Taiwanese female's questioning of identity, it is extended to the. n. al. er. io. question of the political evolution of the country.” 28 Also, Los Angeles Times (2018). i n U. v. gave the feedback of this film that “at a time when viewers are calling for greater. Ch. engchi. diversity in film, On Happiness Road marks the introduction of a promising new female voice in animation.”29 It still made its milestone as Taiwanese animated film to contain political consciousness and brought out the perspective of female.. 27. 28. Details of Box Office of On the Happiness Road, retrieved from https://news.ltn.com.tw/news/life/breakingnews/2363396 Charles, S. (2018/11/14). Reviews: Ansel Elgort in Jonathan, plus animation, indies and world cinema. Los Angeles Times.. Retrieved from https://www.latimes.com/entertainment/movies/la-et-mn29. capsule-feature-string-20181114-story.html. Dreyfus, S. (2018/07/31). Happiness Road, If Taiwan Told Me. La Croix.. Retrieved from https://www.la-croix.com/Culture/Cinema/Happiness-Road-Taiwan-metait-conte-2018-07-31-1200958923. 26. DOI:10.6814/NCCU201900703.

(38) 2.3 The Related Films and Relevant Studies of On the Happiness Road There are already several examples of animated film to blend in with the serious issue of political situation and socio-historical condition of a country. Persepolis and The Breadwinner are similar cases with On the Happiness Road. Also, the director Sung Hsin-yin stated that she was inspired by Persepolis to create On the Happiness Road (Chang, 2017).30. The followings are the brief introduction of these two animated films.. 政治大. Persepolis (2007) (茉莉人生). 立. ‧ 國. 學. Persepolis is adapted by Marjane Satrapi’s comics Persepolis. Persepolis is a blackand-white animation film directed by Marjane Satrapi and Vincent Paronnaud. It. ‧. depicted Marjane’s life story and reveals the social change in Iran after 1978. Marjane. Nat. sit. y. is a 9-year-old girl who lived in Tehran. After the Islamic Revolution in Iran, Islamic. n. al. er. io. regime took power and implemented the system of administrative and religious. i n U. v. integration. The whole social atmosphere was conservative. The government forbade. Ch. engchi. people drinking alcohol or doing any activities related to western culture. Women were forced to wear headscarves and regulated particular wearing. There were religious police on the street supervise the citizens. Many supporters who against the government were killed. All of these oppressions made Marjane feel extremely depressed. Thus, she went to Europe. But her identity of being Iranian also made her feel unacceptable by. 30. 張益勤（2017.12.22）。＜38 歲轉行做導演，《幸福路上》宋欣穎：追逐夢想，別怕浪費時間＞。取自「親子天下」. 網頁 https://flipedu.parenting.com.tw/article/4265. 27. DOI:10.6814/NCCU201900703.

(39) the western society. She is faced with the dilemma between integration into the society and her identification of her own country. After a series of struggles and incidents, she realized what she needs. In the end, she decided to pursue her dream and finally identified herself as Iranian.. The Breadwinner (2017) (戰火下的小花) The Breadwinner is based on the best-selling novel by Deborah Ellis and directed by Nora Twomey. The main character was Parvana who is an 11-year-old girl living in. 治政 Afghanistan. Under the control of the Taliban regime,大 female in Afghanistan was not 立 ‧ 國. 學. allowed to go out without wearing headscarves or without the accompany of a male. After Parvana’s father was unjustly arrested into prison, she decided to disguise herself. ‧. as a boy to make a living. She took on hard labor jobs to save money and hoped to save. sit. y. Nat. her father. At the same time, Parvana’s sister was arranged the marriage with one of. n. al. er. io. her younger cousins in exchange for shelter and protection. Even Parvana was under. i n U. v. this tough situation, she still didn’t lose the courage to rescue her family.. Ch. engchi. Overall, On the Happiness Road, Persepolis and The Breadwinner are considered to be in the genre of adult animated film which is mainly targeted towards adults and older adolescents to explore political, or social issues. On the Happiness Road presented the historical development after Martial Law in Taiwan. Persepolis dealt with the situation after Islamic Revolution in Iran, whereas The Breadwinner reflected the difficulties that female faced in Afghanistan. Also, it happened to be that three animated were created by female directors and with the female protagonists to depict the story. Meanwhile, 28. DOI:10.6814/NCCU201900703.

(40) female directors decided to utilize animation as the tool to present the history. In spite of not filming in live-action to confront with the authority, they chose to present complicated historical background in a gentle way to narrate the story from the female perspective. Moreover, it’s crucial to emphasize on the identity of animators or directors with their animated works. The self-representation of animators establishes a privileged association between the artist and the animated film. The figures in animated film represented the attitude of creator and embedded with its cultural background. (Hernández & Carmen, 2010).. 立. 政治大. ‧ 國. 學. After looking into the similar cases of On the Happiness Road, I tried to look back to the past studies of On the Happiness Road. Firstly, I used On the Happiness Road,. ‧. Taiwanese animated film and modernization as keywords respectively to search on the. Nat. sit. y. National Central Library (國家圖書館) and Taiwan Communication Survey (台灣傳. n. al. er. io. 播調查資料庫). However, due to the reason that On the Happiness Road just released. i n U. v. on 2018, there is not plenty of past studies analyzing this film for now. But there are. Ch. engchi. already some film reviews online or analysis on blogs of On the Happiness Road which is worthy to be referred. Most of film reviews and analysis recalled their personal memory and reflection after watching On the Happiness Road.. Scholar Hsieh Kuo-Hsiung(謝國雄) published an article on Street Corner Sociology31 and took theory in sociology to analyze On the Happiness Road. Hsieh (2018) analyzed. 31. Detailed article of scholar Heish Kuo-hsiung discussed about On the Happiness Road in sociology: https://twstreetcorner.org/2018/01/26/shiehgwoshyong-2/ 29. DOI:10.6814/NCCU201900703.

(41) On the Happiness Road from the sociological perspective. He considered that the idea of ‘sociological imagination’ is demonstrated in this animated film by linking Chi’s life with social changes in Taiwan. Sociological imagination is proposed by Mills which is to connect personal difficulty with public issue. In order to connect these two concepts, it was often analyzed by the concept of ‘power structure’. It means that people’s experience is not only specific personal condition, but also connected with the whole social power structure. In this film, the social structure of home, nation and capitalism were censored in the participation in the social movement. This action inspired Chi’s. 治政大society and its influence on point of view of home, the possibility of changing the 立 ‧. ‧ 國. 學. behavior.. In addition to power structure, the sense of presence is another important issue. Nat. sit. y. discussed in sociology. Hsieh (2018) considered that the sense of presence embodied. n. al. er. io. in Chi’s process of self-searching. The sense of presence is often reflected in the daily. i n U. v. life of individuals and becomes the power that drives people moving forward. In this. Ch. engchi. film, it comes with Chi’s doubt and questions of who she is and what is she looking for. In the end, Chi decided to settle down in the place she was born and finally recognized herself in the sense of presence. He further emphasized that animation and sociology are both the representation of society. Through the process of watching these animated films, the audience reflect their subject position in society, also bring out meaning of presence in the society.. 30. DOI:10.6814/NCCU201900703.

(42) Apart from Mill’s sociological imagination, Anderson (2006) proposed the concept of ‘imagined community’. He further defined nation as imagined community. People in one area read newspaper and accept same message from the media. They imagined themselves as the citizen under one nation. Anderson indicated that even members of the community probably never know each of the other members face to face; however, they may have similar interests or identify as part of the same nation. Imagined community is the foundation of social democracy and it is not the illusion manipulated by the politicians. It is rooted with the mental construction inside people’s. 治政大 changes (Anderson, 2006). consciousness and associated with the historical and cultural 立 ‧ 國. 學. On the Happiness Road also tried to construct the condition of imagined community in the film through a series of important events happened in the past. Although not every. ‧. person was involved in these situations, people still received the information of events. Nat. sit. y. from the mass media. Therefore, it is worth to discuss whether Taiwanese identify. n. al. er. io. themselves in the imagined community of Taiwan in this film.. Ch. engchi. i n U. v. From the opinion of The Atlantic, On the Happiness Road is considered as a ‘poignant portrayal of how fantasy and memory shape identity’32. Another film review of On the Happiness Road regarded this animated film as ‘a Taiwanese to trace her roots. After the long-term oppression, Taiwanese are lack of national identification and further look. 32. Irene, Hsu. (2019/01/21). On Happiness Road Is a Playful Yet Profound Coming-of-Age Story. The Atlantic. Retrieved from https://www.theatlantic.com/entertainment/archive/2019/01/happiness-road-playful-profound-coming-agefilm/580852/?fbclid=IwAR0dpGIwncSsOwlgkPWV6MiJDbKuZ3ru71xUBuWLQuJq6DHK2s5P-vNkJqo. 31. DOI:10.6814/NCCU201900703.

(43) out for the belongingness. Some people had the American dream in the past and the Chinese dream nowadays. But when will people be proud of being a Taiwanese?’ 33. 政治大. 立. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. 33. Ch. engchi. i n U. v. 張玉伶（2018.01.16）。＜《幸福路上》——我未曾參與的「幸福年代」＞。取自「放映週報」網頁. http://www.funscreen.com.tw/fan.asp?F_No=1263. 32. DOI:10.6814/NCCU201900703.

(44) 2.4 The Meaning of Collective Memory and Its Influence in Taiwan After years, with the different political parties, Presidents and various social movements, Taiwanese have experienced the complex growing experience and shared the similar collective memory. ‘Collective memory’ is a concept proposed by the Maurice Halbwachs, which is differentiated with individual memory. Halbwachs (1992) believed that each individual belongs to numerous groups such as families, neighborhood, political parties, associations and up to nations and form collective selfimages and memories. Assmann (1995) defined collective memory as groups of people. 治政大 past, and also a connective who conceive themselves through a common image of their 立 ‧ 國. 學. structure of societies to be nostalgic to the past. Collective memory is kept and passed on to people in representational forms of reproducing texts, images and videos. In this. ‧. digitized generation, history is recorded and reconstructed by amounts of second-hand. sit. y. Nat. memories to pass on the memory to offspring. He also proposed ‘transitive memory’. n. al. er. io. which means people learn and obtain the past memories by another people’s description.. Ch. engchi. i n U. v. McDowell (2016) also believed that collective memory can be materialized into fixed points, such as text, buildings or monuments, such as Memorial to the Murdered Jews of Europe in Berlin, Vietnam Veterans Memorial in Washington, and 228 Memorial Museum in Taipei. Memorials played the role as buildings or construction to represent people’s collective memories.. On the Happiness Road represented the collective memory of details such as buildings in the setting in different times of Taiwan as well as in the music and the characters’ 33. DOI:10.6814/NCCU201900703.

(45) behavior. There is also the film review of On the Happiness Road commented that he recalled lots of personal memory from these important historical moments after watching this film. For example, it reminded him the past of his first vote, the perplexed feeling after graduation and the songs often sang by his mother. 34. However, different generations have their own life experience. Each generation shares similar childhood memory and growing experience under the same historical background. Thus, in this section, I would like to throw back to serval cultural products. 治政大 in different times. Because affected by the social development from the globe to Taiwan 立 ‧ 國. 學. the cultural or the entertaining aspects of different period of Taiwan is also one of the important elements that composed of people’s collective memory to the past.. ‧. Nat. sit. y. It can be manifested in different areas such as popular culture, film, music and literature.. n. al. er. io. Whereas, popular music has commonly been studied as either a vital component of. i n U. v. people’s personal memory or a constitutive element in the construction of collective. Ch. engchi. memory and cultural heritage. Musical memories become manifest at the intersections of personal and collective identity. Through embodied affection and cultural embedding, music becomes part of collective memory and by the same means as it gets settled into our personal memories at the same time (Van Dijck, 2006, p.358).. 34. 艾莫西（2018.01.09）。＜【影涉人生】名為寬容的幸福：《幸福路上》(On Happiness Road)＞。取自「痞客邦」網頁. https://almasylin.pixnet.net/blog/post/43886409. 34. DOI:10.6814/NCCU201900703.