■簡介 日治記憶對於台灣後殖民具有什麼意義？何以在日本統治結束超過半世紀之後，二十一世紀卻有許多不同族群的台灣小說家重返日治記憶，深入探索日治時期台灣人的精神面貌？不僅文學界如此，美術界與電影界也高度青睞日治記憶，例如謝里法的《紫色大稻埕》、紀錄片《綠的海平線》、劇情片《KANO》、《不一樣的月光》等。日治記憶儼然成為當代台灣文化的重要元素。 本書聚焦於知名台灣作家施叔青、李昂、郭強生、吳明益、甘耀明的長篇小說，另有一章主要探討魏德聖的電影《賽德克、巴萊》。作者涉獵廣泛的相關文獻，細膩解讀這些日治記憶文本的特點，並將之放在戰後台灣文學、文化、電影的生產脈絡。透過精闢的剖析，作者顯現二十一世紀台灣小說與電影重返日治記憶的深刻意涵。與此同時，作者也提出了許多有關台灣文學史與文化史的新議題。對於想要瞭解台灣當代文化特色和台灣小說書寫趨勢，乃至於對台灣文學史與文化史有興趣的讀者而言，本書都深具啟發性。 Revisiting Taiwan’s Japanese Period (1895-1945) has become a major feature of twenty-first-century Taiwanese fiction and film. Many contemporary Taiwanese novelists and filmmakers find it important to understand what the Taiwanese (including the aboriginals) thought and believed as well as the structure of feelings they harbored during that period, a period that was denigrated and largely obliterated in official history during postwar Kuomintang’s martial rule. Perhaps just as importantly, these contemporary authors and filmmakers are concerned with how the Taiwanese (including the aboriginals) living through these two periods re-membered the Japanese Period. By contextualizing novels by Shih Shu-ching, Li Ang, Wu Ming-yi, Kuo Chiang-Sheng, and Gan Yao-ming as well as Wei Te-sheng’s feature film Seediq Bale, in tandem with careful readings of these texts, this book argues that these texts can be seen as engaged in a large project of re-memory from a postcolonial perspective. Revisiting Taiwan’s Japanese Period in these texts not only explores pro-Japanese, anti-Japanese sentiments, and ambivalence toward Japan, but highlights an evaluation of Japanese and Kuomintang rule. Reconnecting prewar and postwar Taiwan eventually points to Taiwan’s postcoloniality by suggesting Taiwan is a young nation with its long colonial history, with its people both fighting colonialisms and influenced by colonial legacies.