作者 ｜
黃宗儀 (國立台灣大學地理環境資源學系)
摘要 ｜
在中港合作日趨頻繁的經濟與文化脈絡下，近年處理跨界主題的香港電影中，《香港有個荷里活》（2001）、《神經俠侶》（2005）、《我不賣身，我賣子宮》（2008）、《天水圍的夜與霧》（2009）與《單身男女》（2011）具有一定的代表性，提供了重思香港北進論述複雜意涵的切入點。這些電影中的角色可粗略分為社會寓言意義下的兩種主要類型：無出路的香港成年男性與內地的移動女性。前者象徵受困的在地，後者則是香港對照中國來定義自身的他者。透過將在地男性與移民女性對比的再現手法，影片呈現了香港在地主體面對新的想像社群時不同的協商策略。片中各階層的香港男性與不同類型的中國女性的互動，譜寫了當代複雜多變的北進故事，而影片中的內地女性則常作為不同階段的中港關係的隱喻。本文聚焦跨境來港之中國女性，透過分析其形象的社會文化意涵，以理解香港自我書寫中的跨界慾望與焦慮。我將說明，中國移動女性的再現由妓女轉為妻子與母親，顯示中港關係更為緊密但也益發緊張；電影在呈現大眾焦慮的同時，亦試圖反思議題或建立接納他者的可能；近年出現的白領菁英女性形象，則投射了香港參與中國經濟發展的想像。總體而言，這些跨界抵達香港的各類中國移動女性成為影片中的連結角色，她們重新定義了當代香港的想像共同體，也扮演了述說香港與中國之間或連結或斷裂的修辭工具。作為文化文本，晚近的香港電影持續反映中港關係的轉變，提供大眾理解並思考北進的當代意義。
關鍵字 ｜
香港電影、中港關係、中國移動女性、北進、想像社群、邊界流動
Title ｜
Conceiving Cross-Border Communities:Mobile Women in Recent Hong Kong Cinema
Author ｜
Tsung-yi Michelle Huang(Department of Geography, National Taiwan University)
Abstract ｜
This paper argues that the possibility of geographical collaboration between China and Hong Kong is a major concern in recent Hong Kong cinema. The discussed Hong Kong films that are representative of the border-crossing issue are Hollywood, Hong Kong (2001), Crazy n’ the City (2005), True Women for Sale (2008), Night and Fog (2009), and Don’t Go Breaking My Heart (2011). The characters in these films can be placed into two categories of social allegorical meaning: beset manhood as a symbol of the local under siege, and “mobile women” from mainland China as the Other against which Hong Kong defines itself in relation to China. The mobile women who cross the border from China into Hong Kong serve as the figures of linkage for the films to redefine the imagined community of contemporary Hong Kong, acting as a rhetorical vehicle to articulate connections and contradictions between Hong Kong and China. From prostitutes to wives and mothers, the transformed images of Chinese women point to a closer and also more tension-ridden Sino-Hong Kong relationship. While reflecting collective anxieties, the films under discussion also entertain the possibilities of a new imagined community. The representations of Mainland professional women become the anchor for Hong Kong to imagine participating in China’s economic development. The contrast between male locals and female migrants thus constitutes the setting in which the Hong Kong audience can experience the possibilities of rejection, acceptance, questioning, and the confrontation of the challenges inherent in cross-border s, conjugal or otherwise. The seemingly banal gender ideology that assumes a dichotomy between China as the feminized Other and Hong Kong as a masculine subject brings about new narratives of border-crossing in response to the changing dynamics of capitalism development in Hong Kong and China over recent years.
Keywords ｜
Hong Kong cinema, Sino-Hong Kong relationship, Mobile Women from