本文將從魏德聖的兩部作品《賽德克‧ 巴萊》（編劇、導演）與 《KANO》（編劇）出發，探討作者「感時憂台」的創作意涵以及其殖民史 語境下的本土意識。魏德聖運用「零度敘事」表現「本土意識」，將殖民史 中的抵抗姿態，「沉默地」展示，不加渲染和評論。魏德聖在兩部作品中 闡釋了殖民語境下的兩種本土抵抗意識：在《賽德克‧巴萊》中表現為爆發式的抵抗；而《KANO》中則是嘉農野球隊在殖民者的規則下遊走適應的策略性的抵抗姿態。然而魏德聖在通過「零度敘事」消解了過去固化的民族大敘事的同時，他重構歷史的電影文本中卻出現一個鬼魅的殖民超敘事，使得台灣的本土意識的強度遭到削減，亦反過來弱化了「零度敘事」的效果。兩部電影中魏德聖所建構的殖民者形象及其意識形態，反而成了台灣意識無法衝破的陰影。魏德聖出於道義責任與「悲情」書寫殖民志，而這種民族主義卻需要另一種強勢文化界定與正名，以致延宕了主體性的形成。魏德聖「感時憂台」的創作意涵局限了台灣的獨立價值的呈現，只是召喚了民族主義的認同，難以形成超然的視野與反思意識。

This article considers the so-called Obsession with Taiwan complex attributed to director Wei Te-Sheng, by examining two of his movies, The Warriors of Rainbow and KANO. I argue that Wei Te-Sheng uses basic degree zero narration strategies to elaborate the Taiwanese characters’ resistance posture as a key part of the “Taiwan Consciousness.” In The Warriors of Rainbow, he presents the radical dimension of the Taiwan Consciousness, while in KANO he depicts it as a way of compromise. However, the colonialism super narrative—within which Japanese figures are in command—reveals a sharp contradiction with the independent dimension of the aforementioned Taiwan Consciousness. What’s more, Wei’s obsession with Taiwan in these two films is limited only to the characters’ nationalist efforts but not his modernist depictions of individuals.