Migration and Home: Last Train Home and Mountains May Depart

移動與家在《歸途列車》和《山河故人》中的再現

苗偉(Wei Miao)

《文化越界》 2卷2期 (2016/12) Pp. 97-112

https://doi.org/10.30405/CCS.201612_2(2).0006

摘要

In this article I attempt to analyze Lixin Fan's debut documentary Last Train Home and Jia Zhangke's film Mountains May Depart with a focus on their representation of migration and home. The two productions both adopt a realistic mode to show how migration changes family structure and familial relationship when China is rising to become a global economic giant in the new millennium. While Last Train Home centers on the plight of the underclass in their domestic migration from rural to urban areas, Mountains May Depart expands to transnational migration of the rich. I argue that the two productions show the common traumas-collapse of familial structure and loss of intimate human connection, experienced by people with different class backgrounds in the age of globalization characterized by heightened domestic and transnational migration.

關鍵字

migration ； home ； familial ； emotional

並列摘要

本文試圖分析移動和家在範立欣的首部紀錄片《歸途列車》以及賈樟柯電影《山河故人》中的再現。兩部作品均以現實主義的手法，呈現了中國在21 世紀崛起成為全球經濟強國的背景下，移動是如何改變家庭結構和家庭關系的。雖然《歸途列車》聚焦底層民眾從農村到城市的國內遷徙中所面臨的困境，《山河故人》則將視角擴展到富人的海外移民。本文的觀點是兩部作品反映了在以頻繁的國內外流動為特徵的全球化時代，不同階層所面臨的共同傷痛：家庭結構的坍塌以及親密人際關係的缺失。

並列關鍵字

移動 ； 家 ； 家庭的 ； 情感的