英文摘要 |
Since the turn of the new century, younger generations of Taiwanese filmmakers have begun to address directly the issue of migration and Chinese diaspora. As a Myanmar-born Taiwanese film director, Midi Z (Zhao Te-Yin) has produced his "Homecoming Trilogy," namely, Return to Burma (2011), Poor Folk (2012), and Ice Poison (2014). Midi Z's digital filmmaking portrays the economic reform in Burma and cruelty of the lives of Burma-Chinese People by using the documentary style. Corresponding to the transnational geographical contexts of its setting and Midi Z's own multiple identities, the narrative appears to be intentionally wandering and convoluted. Moreover, Midi Z, who produces what I call "DV Realism," purposely avoids nondiegetic music and other post-production tricks. This approach is assisted by Manovich's DV Realism to reformulate the way in which Midi Z's films present Chinese diaspora in northern Myanmar and demonstrate transnational realist aesthetics. The article contends that the use of popular songs in "Homecoming Trilogy" should be understood as aimed at constructing a realistic and polyphonic soundscape. |