魏德聖以《賽德克‧ 巴萊》引導二十一世紀的台灣觀眾重返霧社事件的現場。從原住民的敘事角度出發，影片強調事件肇始於賽德克族為 捍衛部落的嘎亞文化，而奮起抵抗入侵者的行動。不過，分析影片中重 複出現的特定場面與主題，可發現這些反覆的呈現，除了不免俗地呈現 原始與文明的對立，即殖民者與被殖民者間的衝突，更刻意凸顯賽德克 族的內部紛爭，以及他們各自對於殖民者懷有的矛盾認同。於是，不同 於其他霧社事件再現中，因為國族、社群或是性別身份差異而產生的對 立，《賽德克‧ 巴萊》以反覆的場景與主題揭示了衝突以外的互惠關係。 最後一幕裡，當觀眾看到彩虹橋上一群履行了嘎亞儀式的賽德克戰士正 自豪地唱著賽德克歌曲，理所當然地以為從屬者終能發聲，史碧瓦克卻 提示著這一切看似美好浪漫的歷史再現背後，可能持續運作的再現政治。

Wei Te-Sheng’s Warriors of the Rainbow: Seediq Bale (2011) represents the Musha Incident, a violent event when the Seediq, a tribe of Taiwanese aborigines, rose in revolt against their Japanese colonizers. Reviewing the tragedy exclusively from the scope of the tribe, Wei demonstrates that the incident was not so much caused by the colonization as most historical, cultural and visual texts represent it, as it was the result of a realization of Gaya, an ancient custom that every Seediq was disciplined to follow. Battle scenes, images of cherry blossom and the use of voice-over repetitively appear in the film. The repetition not only illuminates the significance of Gaya but also indicates that conflict could lead to collaboration. An analysis of the battle scenes, for instance, shows that the conflict was not always between the colonizers and the colonized but sometimes among the Seediq themselves. Out of self-interest, some of the Seediq choose to conspire with their invaders. Through portraying such conspiracy, Wei emphasizes the differences among the Seediq as individuals. However, perceiving the body and voice of the Seediq, we should pay attention to the intervention of the director. In the final scene, a group of Seediq warriors realize the ascent to a promised rainbow bridge. Romanticizing the Gaya practice, the director shows that these once-silenced aborigines eventually could articulate themselves in public realms. Yet, such romantic portrayal of the historical moments could incite “epistemic violence” against the aborigines, as Spivak may suggest.