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Indigenous Cultural Translation is about the process that made it
possible to film the 2011 Taiwanese blockbuster Seediq Bale in
Seediq, an endangered indigenous language. Seediq Bale celebrates
the headhunters who rebelled against or collaborated with the
Japanese colonizers at or around a hill station called Musha
starting on October 27, 1930, while this book celebrates the
grandchildren of headhunters, rebels, and collaborators who
translated the Mandarin-language screenplay into Seediq in central
Taiwan nearly eighty years later. As a "thick description" of
Seediq Bale, this book describes the translation process in detail,
showing how the screenwriter included Mandarin translations of
Seediq texts recorded during the Japanese era in his screenplay,
and then how the Seediq translators backtranslated these texts into
Seediq, changing them significantly. It argues that the translators
made significant changes to these texts according to the consensus
about traditional Seediq culture they have been building in modern
Taiwan, and that this same consensus informs the interpretation of
the Musha Incident and of Seediq culture that they articulated in
their Mandarin-Seediq translation of the screenplay as a whole. The
argument more generally is that in building cultural consensus,
indigenous peoples like the Seediq are "translating" their
traditions into alternative modernities in settler states around
the world.
Indigenous Cultural Translation is about the process that made it
possible to film the 2011 Taiwanese blockbuster Seediq Bale in
Seediq, an endangered indigenous language. Seediq Bale celebrates
the headhunters who rebelled against or collaborated with the
Japanese colonizers at or around a hill station called Musha
starting on October 27, 1930, while this book celebrates the
grandchildren of headhunters, rebels, and collaborators who
translated the Mandarin-language screenplay into Seediq in central
Taiwan nearly eighty years later. As a "thick description" of
Seediq Bale, this book describes the translation process in detail,
showing how the screenwriter included Mandarin translations of
Seediq texts recorded during the Japanese era in his screenplay,
and then how the Seediq translators backtranslated these texts into
Seediq, changing them significantly. It argues that the translators
made significant changes to these texts according to the consensus
about traditional Seediq culture they have been building in modern
Taiwan, and that this same consensus informs the interpretation of
the Musha Incident and of Seediq culture that they articulated in
their Mandarin-Seediq translation of the screenplay as a whole. The
argument more generally is that in building cultural consensus,
indigenous peoples like the Seediq are "translating" their
traditions into alternative modernities in settler states around
the world.
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