電影導演即大眾史家：以克林‧伊斯烏德及其《硫磺島的英雄們》與《來自硫磺島的信》為研究對象

Abstract

本研究以電影導演克林‧伊斯烏德的《硫磺島的英雄們》與《來自硫磺島的信》兩部電影為研究對象，試圖從美國與臺灣大眾史學的理論和實踐，探討電影導演即大眾史家的概念。 大眾史學的發展到了二○○三年之後，與影視史學的關係更加密切，本研究以下面四點作為電影個案研究的重點：首先，大眾史學的表述若以史譜（spectrum）定位，劇情片電影則應屬於「虛中實」。其次，大眾史學的電影實踐應持多元的觀點。第三，須強調實踐工作中跨學科領域及團隊性的合作。最後，應觀察電影導演的思想與電影情節的關聯，並探查其歷史意識的實踐。本文據此學理分析架構，以伊斯烏德兩部有關硫磺島之役的電影為實踐個案，論證「電影導演即大眾史家」此一提議。

This Thesis aims to develop an analytical framework of study of “directors as public historians” based on the theories and practices of public history in American and Taiwan by a close reading and interpretation of Clint Eastwood’s two feature films, Flags of Our Fathers and Letters from Iwo Jima. From the year of 2003 onward, the development of public history has shown its close interaction with historiophoty. This Thesis analyzes Eastwood’s Flags of Our Fathers and Letters from Iwo Jima with four theoretical elements: First of all, accordingly to the theory of spectrum of truth and fiction, the representation of historical feature films as a form of public history must be provided with truth in fiction. Second, the representation of historical feature films must be provided with multiple perspectives. Third, the representation of historical feature films also emphasize interdisciplinary cooperation and team work. Last, we should examine the relationship between the content of the film, and filmmakers’ intellectual characteristics in order to see how their historical consciousness have been practiced in the films they made. By applying this analytical framework in the study of Eastwood’s two feature films on the Battle of Iwo Jima, this thesis has demonstrated the validity of the theoretical proposal of “directors as public historians.”