This thesis explores the inseparable interactions between tree, language, sea, and island, focusing on Taiwan's unique geopolitical and cultural landscape. By researching on the Taiwania, an endemic tree species revered by the Rukai people as “wa driwru ki Dramare Ka angatu,” meaning “The Tree Who Bumps Into the Moon,” the study reveals how language and nature intersect to form a dynamic island identity. This identity transcends rigid nationalistic frameworks imposed by colonial and modernist perspectives. Drawing on Pacific scholar Epeli Hau’ofa’s concept of the “a sea of islands" and the works of Austronesian writer Syaman Rapongan, the thesis emphasizes the fluid interconnectedness of islands, cultures, and natural environments. It also highlights how Nguyễn Trinh Thi’s Fifth Cinema builds on Barry Barclay’s Fourth Cinema, upholding indigenous perspectives to challenge traditional narratives and colonial gazes in image history.

The thesis argues for a reimagined understanding of islands, where human and nonhuman connections foster a resilient and inclusive identity. This approach integrates indigenous knowledge and environmental relationships, offering a counter-narrative to Western modernity. By viewing islands through the interconnected lenses of tree, language, sea, and island, the study advocates for a universal, dynamic perspective that embraces hybrid diversity and fluidity. Island Taiwan, with its complex cultural heritage and ongoing political ambiguities, serves as a compelling case study, demonstrating how remembering these connections can lead to a more keen and inclusive understanding of island identity.

Author: Yi-Hong Wang