當代臺灣電影中臺越跨國仲介婚姻下的多重壓迫

本篇研究以交織性分析觀點，探究當代臺灣電影中臺越跨國仲介婚姻下的多重壓迫結構，將所處的原生家庭、社會脈絡、移動經驗等納入討論，來說明臺越跨國仲介婚姻中的男女都是受壓迫者，形成一種弱弱相殘處境。在具體的研究內容上，採用影像為研究文本，以跨國女性主義理論剖析蔡崇隆《黑仔討老婆》（2003）、阮金紅《失婚記》（2003）、鄭有傑《野蓮香》（2012）、周旭薇《金孫》（2012）和吳郁瑩《阿紫》（2019），討論臺灣與越南的性別秩序如何讓男女在各自的原生家庭成為受壓迫者，加上所處的社會經濟脈絡，讓其成為弱勢一方，並在兩地的推拉力量下迫使他們進入跨國仲介婚姻。本研究闡釋，形成臺越跨國仲介婚姻下「弱弱相殘」處境的原因，一方面是臺灣父權社會下的性別秩序與男性氣慨，對於男性本身也是一種壓迫與傷害；另一方面，越南女性的壓迫經驗不只來自於移入國家庭，其同時承受原生母國的傳統倫理秩序與階級主義。本文透過交織分析多重壓迫的社會現象與原因，就跨國婚姻家庭中男女的處境為核心觀察，將臺灣男性納入分析討論。其次，透過電影分析，思考此類型的影像媒介如何介入社會論述與文化生產，提供社會大眾較多元的觀看觀點與反思，期盼能補充移民婚姻經驗與情境尚未討論的觀點，以拓展學界目前已有的臺灣東南亞跨國婚姻研究。

關鍵字

臺越跨國仲介婚姻；性別；多重壓迫；跨國女性主義；交織性；電影

並列摘要

This study aims to explore the multiple oppressions in the commercial matchmaking marriages between Taiwan and Vietnam in contemporary Taiwanese films. Through in-depth text analysis of the five films, “My Imported Bride”, “Out/Marriage”, “My Little Honey Moon”, “The Golden Child”, and “The Good Daughter”, this study examines how men and women both suffer from multiple oppressions in Taiwanese-Vietnamese commercial match-made marriages. Employing the theory of transnational feminism, this study shows how these subaltern men, who have been literally rejected by Taiwanese women due to regional disadvantages, low socioeconomic status and/or physical disability, marry Vietnamese wives, who are expected by their natal family to contribute financially as part of their roles as dutiful and sacrificial daughters. These push and pull factors concrete transnational marital migration and exacerbate negative situations in marriages. Overall, this study illustrates multiple and complex oppressions intersect not only with gender, race, and socioeconomic status but also with patriarchy, nationalism, and global capitalism.