環境議題以土地之名，傳達生態人權和倫理之普世價值。然意識形態根據其所需將土地轉化成各種符號。土地作為符號承載各種意識形態間的相互傾軋。土地既已受各種力量所滲透，而以護土為名的環保紀錄片會僅止於客觀記錄嗎？它可被解讀為國族寓言嗎？美國學者Frederic Jameson認為第三世界文學皆是國族寓言。柯金源長期關注台灣公害與環境議題，結合個人對土地的情感與台灣集體的政治經驗讓他的紀錄片具有一種國族寓言的特質。本文旨將柯金源所拍攝的生態環保紀錄片在台灣內部認同分歧脈絡下，對照台灣本土化運動史進行寓言式閱讀，探討其生態環保紀錄片背後的台灣國族想像和生命共同體意識。

American scholar Frederic Jameson regards all third-world literature as a national allegory. Jameson considers that the characteristics of third world literatures combine personal stories and collective experiences into the form of an allegory. Environmental issues in the name of protecting the land convey universal values such as ecological rights and ethics. However, the land can be transformed into various sings according to the needs of those interests and ideologies involved. Could environmental documentaries produce and record the issues in an objective way? Will environmental documentaries be interpreted as a national allegory?
In this paper, I will attempt to explore the national imagination and the consciousness of the community that both surfaced in Ke, Chin-yuan’s environmental documentary. As a Taiwanese documentary producer Ke has long paid close attention to issues related to contamination and the environment on this island. He incorporates into the documentary his personal affections for the land as well as Taiwan's collective memory, bequeathing it an element of allegory. In recognition of the division among Taiwanese over their national identities, an allegorical way of reading will be used to discuss Ke’s documentary in the way of looking into politics geography, contaminated land, and Taiwan’s uniqueness.