當中國成為南方：十七年電影中的少數民族與全球南方論述形構

When China Became the South: Ethnic Minorities in Films of the Seventeen Years and the Discursive Formation of the Global South

位居北半球歐亞大陸的中國，如何能夠被視為「南方」？而又是在怎樣的歷史脈絡與論述建構下，「中國」這個詞彙得以與「南方」此地緣政治概念彼此勾連？本文首先爬梳二十世紀後半葉，中國與全球南方概念系譜之間的歷史與論述連結，嘗試回應上述提問。接續以中國電影史慣稱之「十七年電影」（1949-1966）為例進行分析閱讀，更具體地考察中國藉由怎樣的文化生產模式實踐上述的論述系譜，特別聚焦三部以西南地區少數民族為主題的作品，分別為王家乙導演的《五朵金花》（1959）、王蘋與袁先共同執導的《勐壠沙》（1960），以及王家乙導演的另部作品《達吉和她的父親》（1961）。本文認為，重新盤整中國「成為南方」的歷史過程，並考察中國在過程中如何透過電影工業與影像生產將自身「展示」為南方，不僅能夠更深入理解中國與全球南方之間的複雜淵源，更同時是對「全球南方」此研究領域的批判性介入，提供吾人反思此典範系譜建構過程中諸多發人深省的歷史片段與側面。

How and since when has China become part of the South? To address the question, this essay firstly teases out the discursive formation of the Global South in the second half of the twentieth century, and analyzes how the People’s Republic of China has positioned itself as part of the South by partaking in such conceptual construction. By looking at the filmic representation of ethnic minorities of Southwest China in the three films produced during the Seventeen Years period (1949-1966)—Five Golden Flowers (dir. Wang Jiayi, 1959), Menglongsha Village (dir. Wang Ping and Yuan Xian, 1960), and Daji and Her Fathers (dir. Wang Jiayi, 1961)—this paper further investigates the way in which China places itself in the spectrum of the Third World and later the Global South through filmmaking, particularly via these films’ exhibition of ethnic minorities. By examining the way in which China exhibited itself as the South, not only are we able to fully reflect on the complicated and ambiguous relationship that China established with the South, but also critically intervene in the Global South as an academic paradigm.