Most historians understand the idea that whoever controls the interpretation of history controls history and that whoever holds control over history holds all the power.
Ever since the People’s Republic of China and the Republic of China separated 65 years ago, it has been difficult for the two sides to find common ground in their interpretations of Chinese history in general and modern Chinese history in particular.
For example, who made the greatest contribution to China’s victory in the Second Sino-Japanese War from 1937 to 1945? Should the Chinese Nationalist Party (KMT) or the Chinese Communist Party (CCP) take the blame for starting the Chinese Civil War that they fought between them? What about for the 1949 separation of their rule — which has now lasted for more than half a century?
Such issues involve not only historical truth, but also the legitimacy of each side’s existence.
Over the past several decades, those in power have controlled the interpretation of history on their respective sides. Since each side tends to highlight the legitimacy of its own rule during this historical process, while belittling or vilifying its counterpart, it is hard to seek a more objective view on modern Chinese history.
Luckily, in Hong Kong — which has been stuck between Taiwan and China — the accounts of this period given in history textbooks dated before the territory’s 1997 handover to China have been said to be much more objective than that in Taiwanese or Chinese textbooks.
However, after Hong Kong was returned to China, some say the textbooks began leaning toward the Chinese side under Beijing’s strong influence, although this is not entirely correct.
Although it is difficult for “the three places on the two sides” (兩岸三地) to find a common ground on this matter, a recent film, The Crossing (太平輪), may have provided a possible solution.
In recent years, a unified market for the cultural industries of Taiwan, China and Hong Kong has gradually taken shape and movies, records and books usually hit the markets across the Taiwan Strait at the same time. It is common for filmmakers, musicians and cultural workers to promote their works in all three places, as well as in Japan and South Korea.
However, such cross-border cultural works — especially video ones — are mostly costume dramas about ancient China or cross-city modern living, and try to avoid modern Chinese politics. Otherwise, it might be difficult for them to enter all the markets.
For this reason, movies and dramas set in a modern China that want to secure publication in Taiwan, China and Hong Kong avoid direct descriptions of the civil war and focus on more trivial matters, while avoiding key issues related to the Second Sino-Japanese War. This is true of such works as 1999 TV drama April Rhapsody (人間四月天), Ang Lee’s (李安) 2007 feature Lust, Caution (色,戒) and Teddy Chen’s (陳德森) 2009 film Bodyguards and Assassins (十月圍城).
By comparison, The Crossing might be the first movie that has attempted to challenge the political taboo. It premiered in Taiwan, China and Hong Kong at the same time last month. The movie shows three touching love stories during a time period covering both wars. However, the film does not try to downplay the conflict; instead, it is vividly portrayed.
Director John Wu (吳宇森) and scriptwriter Wang Hui-ling (王蕙玲) wisely gave a positive description of both KMT and CCP troops, while avoiding maligning the Japanese. They also took into consideration the entangled historical sentiments Taiwanese have toward Japan.
It is impossible for The Crossing to please everyone — it is, after all, a Chinese film and its makers undoubtedly had to obtain Beijing’s permission to shoot and air it in China. Still, it is a rare and valuable thing to see KMT troops portrayed as brave soldiers fighting the Japanese troops, and described positively in the civil war. However, movies depicting romances are not considered part of the official historical discourse.
This year marks the 70th anniversary of the end of the Second Sino-Japanese War and the two sides are set to hold a series of memorial events. At these events, how are Taiwan and China going to restore history and objectively describe the contributions that the KMT and CCP each made to the victory? Disputes over this issue are to be expected.
Despite its massive production cost and cast of superstars from Taiwan, China, Hong Kong, Japan and South Korea, The Crossing was a disappointment at the box office. However, the movie was courageous in challenging political taboos about sensitive chapters of modern Chinese history and this is praiseworthy.
Nevertheless, the system of separate rule by two governments has existed for 65 years and “one country on each side” has become reality. Given this, the “status quo” is likely to persist. Under such circumstances, is it really possible for Taiwan and China to find common ground in their historical views?
John Lim is an associate research fellow at Academia Sinica’s Institute of Modern History.
Translated by Eddy Chang
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