本文以兩部在2008年上映並獲得票房佳績的電影《海角七號》和《一八九五》為例，探討「日本」如何在當代臺灣電影中被想像和再現為一個對著臺灣絮語、不停回眸、既親密又疏離的戀人姿態，形構了電影中的「臺灣」，並凝聚臺灣認同。全文將沿著以下幾個脈絡展開：（一）日本從過去到現在，在臺灣社會的永恆存在，及其在當代臺灣社會觀看自我、書寫自我、定位自我的過程中所占有的位置。（二）透過對於這兩部電影的閱讀，討論2000年後臺灣當代電影之中，借用大量日本文化元素所形構的「日式」風格和「日本味」（Japanese flavour）。（三）將這兩部電影放在全球化流行文化商品流通的架構下，描繪臺灣電影中的「日本」和「臺灣」，如何在電影文本、電影產製者和電影消費者之間建造了一個對於臺灣歷史的集體想像，建構了臺灣認同。（四）重新審視在當代消費情境內裡，臺灣 認同內容物中的「日本」，以提供「臺灣性」多重面貌中，一個從「日本性」折射而來的面向。

This paper explores how Japan is imagined and re-presented in contemporary Taiwan cinema 126 , that is, how Taiwan’s film makers appropriate the voices and images of Japan and re-construct the ‘Taiwanised’ Japaneseness, and how this simulated Japaneseness consequently helps build Taiwanese identity. To illustrate my argument, I would particularly focus on the discussion of Wei Te-Sheng’s Cape No. 7 and Hung Chih-Yu’s 1895 in Formosa, both released in 2008. Japan, as one of Taiwan’s most significant ‘others’, has always been a great influence over Taiwanese culture and society, by means of the colonial rule from 1895 to 1945, followed by the economic invasion of exported goods and then the invasion of popular culture in recent years. Today, the penetration of Japaneseness into Taiwan has transformed itself from merely an economic power or imported culture, to a self-renewed and self-proliferating part of Taiwanese society. Both Cape No. 7 and 1895 in Formosa represent Japan as a lost lover of Taiwan, and are thus good examples for me to discuss how ‘Japanese flavour’ is heavily appropriated and refashioned by Taiwan’s filmmakers. I will discuss ‘the Japan’ represented in these two films to investigate how contemporary Taiwan cinema uses this simulated Japaneseness to build Taiwanese identity, and to help distinguish Taiwan from other cultures.