|Abstract: || 1895年，是日本殖民臺灣的第一年，也正好是電影誕生的一年，起初作為資產階級文化生產工具的電影，隨著帝國及其殖民主義的擴張，電影也成為殖民者殖民的新媒介。「電影觀賞」是放映者、說明者與觀眾積極頻繁的互動，「愛國婦人會」與「臺灣文化協會」是當時兩個立場相反的社會組織，兩個不同的社會團體、對立的政治考量，卻同樣選擇以電影作為達成目的的工具，放映者的傳達方式、放映影片的動機與民眾觀看電影的反應等，都是筆者感興趣的部分，本論文將深入探討之。|
The year of 1895 is the first year that Japan colonized Taiwan and that films were introduced to the world. With the expansion of imperialism and colonialism, films, initially being an instrument used by the bourgeoisie to generate cultures, become the new media used by colonizers. Films attract the public’s attention and thus are able to convey ideas. In a time that few people can afford education, to convey ideas through films is often more efficient than through books and words.
“Film appreciation” is not only a one-way activity but a positive and constant mutual interaction between the projectionists, the interpreters, and the audiences. “The Women''s Patriotic Association” and “The Taiwanese Cultural Association” are the two social organizations whose standpoints are contrary to each other. While the former actively cooperated with the then Taiwanese Governor-General in policy implementation, the latter tried to upgrade Taiwanese’ cultural standards in the hope of unifying the people power through the cultural enlightenment to fight against Japan. While these two groups have so different political considerations, they, at the same time, choose films to achieve their goals. This paper is to address the way the projectionists convey ideas, the objective of screening a film, and the reaction that the audiences watch a film.
The first chapter is “Introduction,” detailing the purpose, content, and methodology of this study.
The second chapter is “Film Development during Japanese Colonial Period.” The emergence of films is not an overnight but an inter-connected process. This chapter will start with an overview of the society before films were introduced and will be followed by talking about the new phenomena after films were introduced. Then we will be looking at the film development in Taiwan during Japanese Colonial Period from an overall framework. The emergence of movie theaters and the popularity of benshi interpreting films will be particularly addressed in this part.
The third chapter is about “the Development of The Women''s Patriotic Association and The Taiwanese Cultural Association.” An overview of the two organizations will be provided before the discussion about how they use films to achieve their purpose.
The fourth chapter is about “Film Application by The Women''s Patriotic Association and The Taiwanese Cultural Association,” which is also the core of this study. The purpose that the two organizations established the division of film, their development processes, and their outcomes will be completely discussed in this part. Besides, some previous researches that I think in need of confirmation, such as Toyojirou Takamatsu’s participation in film screenings about Russo-Japanese War and the use of terms “katsudosyashinbu of the Taiwanese Cultural Association” and “mei-tai group,” will be addressed in this chapter as well.
The fifth chapter is “Conclusion.” In this part, we will summarize the above discussion and try to compare the process and the result that “The Women''s Patriotic Association” and “The Taiwanese Cultural Association” apply films to achieve their goals from different perspectives.