作者 ｜
謝欣芩(台北教育大學台灣文化研究所)
摘要 ｜
本文以「家」為核心母題，探究當代紀錄片如何再現東南亞新移民女性在「家」的空間內／外，跨越邊界所展演的多重身分，以及此類型的紀錄片如何介入台灣當代社會論述與文化生產，將「家」視為異文化接觸和社會關係實踐的雙重空間，以性別角度剖析阮金紅《失婚記》（2012），賴麗君、彭家如《神戲》（2016）和南洋台灣姊妹會《姊妹，賣冬瓜》（2010），就空間而言，三部紀錄片指向家庭內部、家內／外移動和跨越家庭進入公共空間等不同的階段、主體與認同的形塑過程，亦展演多重文化異質性與權力結構的角力。首先，以影像為研究文本，分別剖析三部紀錄片中「家」的符號與象徵意義，並檢視新移民女性與「家」的不同協商和抵抗策略。其次，透過再現策略與議題處理，思考紀錄片如何作為一種工具，得以藉由拍攝進而揭露或者介入社會與文化生產的實踐和行動。本文透過跨國女性主義理論與紀錄片分析，反思不同霸權於「家」的角力和動態建構，釐清紀錄片作為介入新移民論述的工具，對於東南亞新移民女性的主體性、性別角色與認同建構之影響。
關鍵字 ｜
紀錄片、東南亞新移民、女性、家、介入
Title ｜
Boundary-Crossing and Multiple Identities: Female Marriage Migrants' Family Practices in Contemporary Taiwanese Documentaries
Author ｜
Hsin-Chin Hsieh(Graduate Institute of Taiwan Culture, National Taipei University of Education)
Abstract ｜
This paper investigates the motif of “home” to examine the multiple identities of Southeast Asian marriage migrants in Taiwan, women who cross boundaries between the inner and outer realms of the domestic sphere. In particular, it explores how sociopolitical documentaries interact with the contemporary discourse and cultural production. Considering “home” as a double social space, both a contact zone between different cultures and a practical space for daily life, this paper adopts a gender perspective to analyze three documentaries: Out/Marriage (2012), The Immortal’s Play (2016), and Let’s Not Be Afraid (2010). These documentaries distinctly demonstrate the different stages and processes of subject and identity construction, thus to reveal the multilayered cultural differences and power structures that wrestle with each other in the home space. Through the cinematic analysis of these documentaries, this paper analyzes the symbolic meanings of home and identifies marriage migrants’ varied strategies for negotiation and resistance. Moreover, it addresses representational politics to explore the practical functions of documentary filmmaking. Adopting transnational feminism and documentary analysis, it demonstrates the dynamic construction of “home” in relation to scattered hegemonies and investigates the interventional act of documentaries as they may affect the formation of subjectivity, gendered roles, and identities of Southeast Asian marriage migrants in Taiwan.
Keywords ｜
documentary, Southeast Asian marriage migrants in Taiwan, woman, home, intervention