本文將扣緊「家」的議題,探討從《T婆工廠》到《彩虹芭樂》中,紀錄片呈現的菲律賓移工在離「家」、返「家」過程,「家」的歧義與多重意涵。透過紀錄片文本的分析與意義論述,探討月中菲律賓女性移工在跨國離返時,「家」的範疇與意義為何。本文扣緊「家」的議題,探討從《T婆工廠》到《彩虹芭樂》中,如何呈現全球化下的移工從全球移動,分析紀錄片呈現的菲律賓移工在離「家」、返「家」過程,建立起「家」空間、「家」的回歸、與另類「家」的想像。跨國移工在移動中,是主情模式也在全球移動的過程中,面對不斷離開母國工作再返回母國的離返過程,面對不同的權力秩序產生不同的能動性,呈現多元情感的樣貌與對「家」的協商與創造。本文以家論述作為核心概念,探討離/返旅程中的家空間。移工的主體在離/返過程當中,面對異性戀家庭主義與性別特質的框架時,在此秩序當中,如何回歸「家」秩序、跳脫「家」秩序或另類協商的可能。
This article analyzes the documentary film, "Lesbian Factory" and "Rainbow Popcorn", to explore meaning of Home under global system and heterosexual patriarchy. I will focus on how the migrant workers negotiate under system of home and heterosexual patriarchy, and how the alternative "home" be possible under heterosexual patriarchy system. This paper is divided into three part to discuss different kinds of “Home". First, I will discuss how migrant workers create “Home" as resistance space. Secondly, I will discuss how migrant workers negotiate and create alternative "Home" space. Finally, when lesbian migrant workers leave and return their country the migrant agents face the heterosexual system, some of them return to their heterosexual system families, other negotiate and create alternative "Home" space, and develop their own emotional support system.