自20世纪80年代以来,台湾电影一直肩负着明确的文化使命。这种使命主要是通过各种历史事件和个人命运来正视族群归属,并确立本土意识。从新世纪初开始,这种文化使命发生微妙转向,即试图通过某种流行文化的包装来实现对母体文化的尝试性回归。本文通过陈怀恩、魏德圣、杜家毅三位导演的处女作,研究这种新的文化认同转向。 Since the 1980s, Taiwan films have always had a clear cultural mission. This mission is mainly to address ethnic ownership through various historical events and personal destinies and to establish local consciousness. From the beginning of the new century, this cultural mission has undergone a subtle shift in its attempts to achieve a tentative return to the mother culture through packaging of some popular culture. This article attempts to study this new cultural identity shift through the debut work of the directors Chen Huai En, Wei De Sheng, and Du Jia Yi.