文化不僅僅是人類生活經驗積累下的產物，也不僅僅是對歷史事件進行描述的一套固定系統，在著名的文化理論批評家薩依德的觀念中，文化是一種「辯證的生產體」，它是一種「同時具有理性調理和感性歸屬之雙重潛力的意識母體和理念始源」，對內它可以產生僵固的同質性和在地的自戀性，對外會生產敵視的差異性與他者的詆毀性。2005年曾文珍導演的電影《等待飛魚》，以及2018年崔永徽導演的《只有大海知道》，看似簡單的愛情、親情故事，以蘭嶼達悟族的文化及現狀為基礎，對當地的自然物候、地理風貌、人文色彩及民族文化有生動的刻劃，然而作為商業電影，有別於「紀錄片」或是「地方誌」，對於達悟族的生活風貌的描述若隱若現，難窺全豹，本文欲從少數族群文化理論的觀點，詳細討論達悟族文化風俗的點點滴滴的背後隱含的意涵，也就是說，我們如何從文本中的罅隙、書寫中的空白、作者刻意規避、遺漏的內容，以及敘事的邊緣，推敲出意識形態的軌跡和權力運作的流動，發掘出不同文化之間千絲萬縷的糾葛？

Culture is not only the outcome of accumulated human life experiences and a static system for describing historical events. According to the renowned cultural theorist, Edward Said, culture is a "dialectical production" and a "conscious matrix and source of ideas that simultaneously possesses rational order and emotional belonging." Internally, it can generate rigid homogeneity and localized narcissism, while externally it may produce hostility toward differences and derogatory toward others. The films "The Waiting Fish" by Zeng, Wen-zhen in 2005 and "Only the Sea Knows” by Cui, Yong-hui in 2018 presented seemingly simple stories of love and family based on the culture and current situation of the Tao tribe (達悟族) on Lanyu Island. These films vividly depict the island's natural phenomena, geographical features, cultural diversity, and ethnic heritage. However, as commercial films, they differ from "documentaries" or "local chronicles" and only provide glimpses into the lifestyle and customs of the Tao race, making it difficult to fully comprehend the whole picture. This article aims to discuss in detail the implicit meanings behind the cultural customs of the Tao tribe from the perspective of minority cultural theory. In other words, it explores how we can scrutinize the traces of ideology and the flowing dynamics of power by analyzing the gaps in the texts, the blanks in writing, deliberate omissions by the authors and narrative margins. Through this process, we can uncover the intricate entanglements and unravel the complexities among different cultures.