《塵之女》的離散政治與流動地域美學

Diaspora Politics and Aestheticized Landscape in Julie Dash's Daughters of the Dust

劉于雁(Yu-Yen Liu)

《英美文學評論》 14期 (2009/06) Pp. 121-144

https://doi.org/10.6711/REAL.200906_(14).0005

摘要

茱莉•戴許(Julie Dash)的《塵之女》(Daughters of the Dust, 1991)是開創離散黑人電影新里程碑的重要作品。故事描繪離散家族遷移前的團聚。黑人女獨立製片人、導演、兼劇本作者戴許以影像紀錄嘎勒(Gullah)文化、島嶼族裔典故，詮釋美學化族裔空間、歷史、與地景的關係。本論文探討戴許的多層次敘述影像語言、抗拒含納政治、特殊時間性的離散藝術(diasporic art)，如何深化理論家蓋布萊爾•薛弗(Gabriel Sheffer)和洪治安(Ien Ang)所關注的離散政治議題。 戴許以族裔離散的立場與觀點再現西非黑人系譜，以回溯族裔文化遺產作爲離散認同的手段，也許尚有爭辯的空間，但是她電影中不斷展現跨界之姿，藉著影像貫穿性別、地域、文化、歷史、種族等多重論述，以此挑戰美國主流文化霸權，呈現離散族裔的生活混融(syncreticism)底蘊，的確開拓離散研究新指標。

關鍵字

離散政治 ； 混融 ； 後殖民空間 ； 地景 ； 歷史

並列摘要

Julie Dash's ground-breaking film Daughters of the Dust (1991) narrates a family reunion on Ibo Landing before the family members depart for the North the next day. A filmmaker, director, and writer, Dash draws on diverse sources of the Gullah culture and weaves the magical sense of the place into the very texture of the film. This paper aims to elucidate the film in relation to diaspora politics and to address how the aestheticized landscape demonstrates Dash's diasporic art-”multilayered unfolding” narration, politics of resistance and inclusion, and special mode of temporality, which further complicates Gabriel Sheffer's ”diaspora politics” and Ien Ang's ”productive, creative syncretism.”
While Dash's endeavor in recovering her people's cultural heritage as an alternative way to articulate their cultural identity may not be unproblematic, the way she coats her political agenda in sophisticated filmic narratives, in embracing the syncretic details of the everyday existence of African diaspora, and in elaborating a fluid and dynamic combination of varied cultural forms are indeed theoretically effective.

並列關鍵字

diaspora politics ； syncreticism ； postcolonial space ； landscape ； history

參考文獻

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Bambara, Toni Cade.(1992).Daughters of the Dust: The Making of an African American Woman's Film.New York:New Press.