距離電影：趙德胤「歸鄉三部曲」與後殖民及華語語系的邊界

Abstract

本論文旨在探討趙德胤導演所拍攝之「歸鄉三部曲」中對於緬甸華人角色失敗的亞際遷移的再現，並將此三部作品—包括《歸來的人》（2011）、《窮人。榴槤。麻藥。偷渡客》（2012），與《冰毒》（2014）—定義為「距離電影」。本論文的核心論點指出，距離電影不但能夠挑戰線性的移民敘事，同時也推展後殖民研究與華語語系研究的知識邊界。論文第一章首先揭露將趙德胤描繪為在台灣獲得成功的少數族裔導演的主流論述形構如何與其電影中失敗的亞際遷移的主題產生矛盾，並且藉由詳細定義距離電影來提供分析其作品的另類方法。本章節同時也引介後殖民研究與華語語系研究中的批判思維，並點出其能夠與無法幫助本論文分析之處。第二章分析《歸來的人》如何藉由緬甸的回流移民來批判台灣夢與緬甸改革等吸引移民的論述，並且著重於傾聽影片部署之聲音。第三章探討《窮人。榴槤。麻藥。偷渡客》中由泰緬邊界空間與跨界移民所體現的居間性，並且關注影片中的表演面向。第四章檢視《冰毒》中緬甸當地的底層華人所面臨的機動性與不動性的辯證關係，同時考量影片中的攝影機運動。第五章總結本論文，並且提問：趙德胤的距離電影如何挑戰台灣的外文系中固有的「外國」與「本地」的二元對立？透過對於「距離」此一概念的更多討論，本論文提議趙德胤的電影促此我們重思台灣過去在不同學科與主體間不加批判所設立的距離。

This thesis investigates the representations of the Burmese Chinese characters’ failed inter-Asian migrations in Midi Z’s Homecoming Trilogy—including Return to Burma (2011), Poor Folk (2012), and Ice Poison (2014)—by discussing this trilogy as a “cinema of distance.” Through this discussion, this thesis suggests that Midi Z’s films not only challenge narratives of linear migration, but also push at the epistemological borders of postcolonial studies and Sinophone studies. Chapter One first reveals the incongruity between the mainstream discursive formation of Midi Z as a successful ethnic minority director, a discourse based upon a colonial unconscious in Taiwan, and the dominant theme of failed inter-Asian migrations in his films. This chapter also introduces critical ideas from the fields of postcolonial studies and Sinophone studies and provides a definition of a cinema of distance to introduce alternative ways to analyze his films. Chapter Two analyzes how discourses of the Taiwanese dream and Burmese reforms that attract migrants are critiqued through the story of return migration in Return to Burma, while specifically listening to this film’s use of sounds. Chapter Three explores the quality of in-betweenness embodied by the Thailand-Burma border space and the border-crossing migrants in Poor Folk, while paying special attention to the aspect of performance in the film. Chapter Four examines the dialectic between mobility and immobility faced by lower-class ethnic Chinese in Burma as they are represented in Ice Poison through a discussion of this film’s use of camera movement. Chapter Five concludes this thesis and asks: how does Midi Z’s cinema of distance complicate the dichotomy between “foreign” and “native” in a Department of Foreign Languages and Literatures in Taiwan? Through a discussion of the term “distance” and the position of Burmese Chinese students, the thesis suggests a radical reconsideration of certain uncritical distances that have been maintained between different disciplines and subjects in Taiwan.