空間政治、邊緣敘述與現代化的中國想像－察析農民工題材電影的文化症候

Space Politics, Marginal Narration and Imagination of Modernized China-A Culturally Symptomatic Analysis of Films Concerning Migrant Workers

鄒贊

《文化研究月報》 105期 (2010/06) Pp. 18-31

https://doi.org/10.7012/CSM.201006.0018

摘要

農民工是近年來文學創作中“底層敍事”和影像書寫中邊緣敍述的重要物件，表徵著社會轉型時期特定的文化症候。從空間文化批評視角切入對《泥鰍也是頄》、《落葉歸根》等農民工題材電影的症候式分析，發現：作為流動和邊緣群體的農民工在都市空間中居於主體曖昧和被看的位置；鄉村／城市，傳統／現代等二元對立交織著複雜的意識形態和權力關係；農民工影像負載著深刻的空間政治寓意。電影以邊緣敍述和“苦難敍事”的手法突顯農民工在都市化／現代化進程中的身份危機；同時，電影借助于精心編碼的“大愛”形象和消費主義神話，成功地挪移和遮蔽了農民工的真實位置，也勾連著“現代化的中國想像”對於階層分化與重組的新的國族敍述。

關鍵字

農民工 ； 空間政治 ； “大愛”形象 ； 消費主義

並列摘要

Migrant workers have become important themes of bottom narrations in the recent literary creation and marginal narrations of image writing as well, representing special cultural symptom during social transformation. With a symptomatic analysis of Loach is also Fish , Falling Leaves and other films concerning migrant workers from the perspective of space culture criticism, we conclude that migrant workers, as a flowing and marginal group, are located in a position of being seen and ambiguity in the urban space. Country/city, tradition/modernity and other binary oppositions are mixed with complex ideological and power relationships. Images of migrant workers carry on deep space political significance. In some sense, the identity crisis of migrant workers during the development of urbanization and modernization highlights in the films with marginal narration and narrative of distress. In other sense, the real position of migrant workers in today's China is successfully changed and shadowed by images of great love and consumption myth delicately encoded by the films. Also, the films link with the new nation-state narration of class differentiation and reorganization in terms of the imagination of modernized China.

並列關鍵字

migrant workers ； space politics ； images of great love ； consumerism