臺灣移工電影中的家、城市和第三空間： 以《我倆沒有明天》、《娘惹滋味》 和《臺北星期天》為例

Home, City, and Third Space in Taiwanese Films of Migrant Workers: A Case Study on “We Don’t Have A Future Together,” “Rasa,” and “Pinoy Sunday”

蔡敏秀(Tsai, Min Hsiu)

指導教授 ： 陳芷凡

國立清華大學/人文社會學院/台灣文學研究所/碩士(2017年)

摘要

來自東南亞的移民工已經構成臺灣第五大族群，但民眾若沒有近身互動的經驗，往往依賴主流媒體的報導而形成對移工的了解，但媒體傾向做出的偏向性報導常使移工形象侷限與「可憐」或「可惡」。過去學界對移工議題的論述主要從經濟學、管理學及社會學的角度討論，從媒體再現面向切入移工議題的研究則較少從電影媒介或空間視角分析主流媒體如何塑造移工形象，因此本文以林靖傑《我倆沒有明天》（2003）、溫知儀《娘惹滋味》（2007）和何蔚庭《臺北星期天》（2009）等三部劇情片為論述對象，以第三空間理論為研究架構，觀察三位導演如何以各式空間建構有主體性和能動性的移工，且此樣貌如何異於其他主流媒體對移工的再現。

　　本文所討論的三部電影涵蓋不同國籍、性別與產業類型的移工，三位導演各自從他們對工人、移民工和異鄉人的關懷出發，以其特殊的影像風格及不同策略來凸顯移工的能動性。林靖傑讓移工遇上本地工人以對照移工在雇主家內外的空間實踐，一方面也開拓了移工出現在臺灣人信仰空間的可能性，藉由兩人在廟宇、菲人聚集的酒吧和本地工人家中的互動，林靖傑塑造的是作為觀看主體、具有語言及文化資本且情感自主的移工。溫知儀則是以家空間中的畫界工作彰顯家務移工的能動性，有些移工選擇維持族群分野、拒絕成為家人，有些則求跨國婚姻以及將雇主家轉化為謀生的風味餐廳時，不僅是移工的主體性被看見，亦翻轉了主流媒體對外籍配偶的刻板再現。何蔚庭主要透過城市中家的想像、移動與凝視表現男性移工的能動性，移動於固定的族裔空間外時，移工不按照都市規畫者的原意使用空間，進而達到反規訓的效果，而漫遊中對臺灣人事物的觀看亦使他們成為主體，移工對新聞產製過程的目睹更是導演對主流媒體偏頗地再現移工之反思。

　　上述研究結果顯示，移工除了透過種種空間實踐體現其主體性外，影像中各場景具備的第三空間特質（家空間裡支配與協商並存、家與風味餐廳的疊合打破公／私、家庭／社會、休閒／工作等對立、城市中想像與真實兼具）亦指出移工模糊二元對立空間的能動性；導演藉由不同空間建構出有主體性和能動性的移工面貌，使電影媒介異於其他主流媒體對移工的再現，並讓臺灣多元文化／族群論述有了不同層次的實踐。

關鍵字

移工電影 ； 我倆沒有明天 ； 娘惹滋味 ； 臺北星期天 ； 第三空間 ； 能動性

並列摘要

Migrant workers and immigrants coming from south-eastern Asia has become the fifth biggest ethnic group of Taiwan. Yet, Taiwanese people often depend on news report to come up with their ideas toward them if they don’t have a chance to interact with them. However, the mass media tends to report negative news, causing the representations of migrant workers either pitiful or hateful. In the past, researchers mainly discuss such topic from the economic, managing, and sociological point of view. Studies about how the media represent migrant workers seldom choose fictional films as texts for analysis. They seldom analyze these texts with spatial theories either. Thus, this thesis chooses Lin’s “We Don’t Have A Future Together,” Wen’s “Rasa,” and Ho’s “Pinoy Sunday” for analysis, uses Third-Space theory and aims to find out how these directors use all kinds of spaces to construct a more subjective image for migrant workers and how these images are different from the representations created by the mass media.

The three films discussed in this thesis include workers from different countries, of both genders, and in different industries. Three directors each adopt unique cinematic style and strategy to emphasize that migrant workers have agency. Lin sets up the migrant worker to meet a local worker, comparing their spatial practices inside and outside the employer’s house and making migrant worker’s appearance in Taiwanese religious space possible. Lin creates a subject that can look, with linguistic and cultural capital, and dealing relationships reasonably. Wen uses boundary work at home to reveal domestic workers’ agency. Some choose to stay different from Taiwanese, refusing to be part of a Taiwanese family while others try to pursue cross-nation marriage. The latter turns employer’s house into a restaurant selling cuisines from south-eastern Asia. During the process, the subjectivity of migrant workers can be seen. In addition, it challenges the stereotypical representations on foreign brides. Ho shows male migrant workers’ agency through their imagination of homeland projected on the city, the walk and the gaze taking place while wandering in the city. When moving outside ethnic places, they achieve the effect of anti-discipline for they don’t follow city planners’ intention. The gaze in the journey also making them subjects. Their observation of the making of news is the director’s reflection on how mass media often represent migrant workers in a bad way.

The migrant workers not only demonstrate their subjectivity through all kinds of spatial practices, the scenes that have third-space features also point out that these workers possess the power to blur boundaries such as the boundaries between public and private sectors. The directors use varied spaces to picture migrant workers with subjectivity and agency, making film different from other media and making Multiculturalism or Multi-ethnic discourse in Taiwan more that a slogan.

並列關鍵字

migrant workers film ； "We Don't Have A Future" ； "Rasa" ； "Pinoy Sunday" ； Third Space ； agency

參考文獻

李芝瑩，〈外籍移工攝影作品中的社會批判分析：以《凝視驛鄉VOYAGE15840》為例〉，《社會科教育研究》第14期（2009），頁277-292。

曾嬿芬，〈引進外籍勞工的國族政治〉，《臺灣社會學刊》第32期（2004.06），頁1-58。

簡曉娟，〈暴動？抗暴？論移工團體與新聞媒體對「高捷泰勞事件」的意義建構與互動分析〉（臺北：國立臺灣大學國家發展研究所碩士論文，2011）。

藍佩嘉，《跨國灰姑娘：當東南亞幫傭遇上台灣新富家庭》（臺北：行人，2008）

顧玉玲，《我們：移動與勞動的生命記事》（臺北：印刻，2008）。