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The story of Gohō (Wu Feng) took place in the Ching Dynasty, before the Japanese assumed control of Taiwan.

The colonial government actively promoted the idea that Wu Feng sacrificed himself in order to successfully persuade tribespeople living on Mt. The intention of the colonial government was obviously to create an image similar to that of Wu Feng – savior of the indigenous peoples.

Aboriginal culture, obviously constituted an attractive exotic element for promoting tourism and, thus, became a significant “other” in the eyes of the beholders.

Even in the heat of World War II, (Makino Shinzo, 1944), a documentary meant to introduce the Takasago Volunteer Corps, which fought for the Japanese Empire in the Southeast and Papua New Guinea jungles, the exotic customs of Aborigines were still represented, The exoticism of the “raw aborigines,” especially their headhunting customs and “primitive” ways of living, proved to be an irresistible temptation to some Japanese filmmakers.

The following year, to celebrate the 40 traditions, customs, superstitions, and how aboriginal lives were “ improved.” Other private Japanese film companies, such as Tokyo Asahi Newsreels, also shot documentaries in the deep mountains, such as (1928), a film made by anthropologist Miyamoto Nobuhito, is about the Paiwan tribe’s five-year ceremony.

This ceremony was filmed in another ethnographic film by anthropologist Hu Tai-Li, a half-century later.

The young woman priest/teacher, playing a similar role as the female teacher in , followed in the steps of her father (who followed in the steps of Wu Feng), and brought modern education, i.e., “civilization”/ “salvation,” to the indigenous people.

Historical Dictionaryof Taiwan Cinema Written and Edited by Daw-Ming Lee -A – ABORIGINES AND FILM.

Aborigines account for only two percent of the population in Taiwan at present.

In 1922, the Aboriginal Affairs section in the Bureau of Police Affairs started to make “documentaries” – films about the prohibition against tattooing and long hair, building new houses, toilets, and cemeteries – showing indigenous people the “progressive” or “modern” ways of living.

In 1936, before the Second Sino-Japanese War erupted, the motion picture unit of the Aboriginal Affairs section made a film about current conditions in aboriginal tribal villages, as well as their mountain scenery.

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