再現離散家園記憶: 以《愛無止盡》、《娘惹滋味》、《我的強娜威》三部電影為例

Abstract

中文摘要

本篇論文藉由探討導演法堤．阿金的作品「愛無止盡」，與台灣影像作品「娘惹滋味」、「我的強娜威」這三部電影中對於離散主體的再現政策以探討對於家園意象無法實現的渴求。此外，企圖在接待社會(host society)中強勢二元化論述下對於離散群體同化，抑或排他兩種選擇之外，開創出第三論述。更進一步地分析這三部影像作品中對於尋根之旅的不同路徑中，共同存在的揉雜(hybridity)美學策略來再現其多元性。 整篇論文共涵括四個章節。在第一章中，藉由強調霸權結構下統治者與被統治者兩方位置的交互滲透性，以提供後續章節對於再現離散群體的政策，能夠跨越被霸權意識框架禁錮的可能性。第二章則主要討論法堤．阿金混合跨界音樂與顛覆傳統影像下的空間意象，並在影像與音樂兩者交互貫穿整部電影的過程下，成功地打破影像再現機制的現況。然而本人從一個全然第三者的角度下，切入分析「愛無止盡」這部探討土耳其裔移民的德國電影後，回頭在第三章中，以自我反涉的角度解析台灣影像工作者對於離散群體的再現政策。並同時藉由分析「娘惹滋味」、「我的強娜威」這兩部台灣影像作品的脈絡下，最終發現兩位導演雖源自相同創作動機，但以不同角度再現異己的結果。最後在第四章裡，藉由三部作品中皆曾出現的烹飪場景為例，來總結全文，並討論廚房與烹飪技能對於離散女性主體，是如何在不同影像文本中，扮演著歸化馴服與抵抗不平兩者迥異的角色。

English Abstract

This thesis aims to explore the transnational diasporic people’s unfulfilled desire of homecoming by discussing how these de-territorialized people were represented in Fatih Akin’s Head-On, and two Taiwanese films, Rasa and My Imported Wife respectively. While the host society tends to use integrationist or separatist notion to deal with the newcomers, this thesis seeks to provide a “third-space” narrative which transcends the two former notions to represent the diasporic people. Furthermore, my analysis of their different routes in terms of searching for home, shows that these films represent the idea of “home” through the politics of hybridization. The thesis consists of four chapters. In the first chapter, I try to highlight the saturated relationship of the dominant and the dominated in hegemonic formation to suggest a possible counter-hegemonic narrative in these three films. In chapter two, I analyze how Akin’s “blending music” and spatial construction successfully formulate such a counter-hegemonic narrative in which he emphasizes the mobility of diasporic characters in the film as a way to break down the status quo. In contrast to my position as an outsider criticizing the issue of Turkish immigrants in Germany, I turn to analyze different politics of representation of new immigrants and foreign brides in Taiwan from an insider’s viewpoint in chapter three. Although the directors of Rasa and My Imported Wife both start to make their films from a liberal perspective, their strategies of representing the new immigrants are completely different. Finally, in chapter four, I conclude this thesis by giving examples of the culinary scenes in the three films, and explain how the space of kitchen and culinary skills could be a site of domestication for women as well as a form of resistance to the dominant in different contexts.