女性身體的（不）自主：《高山上的茶園》與《紅色》的移工情欲與性政治

Women's Bodies and (Im-)mobility: Migrant Workers' Lust and Sex Politics in Tea Land and Merah

本文探討跨國移動中的性政治，尤以兩部當代臺灣劇情短片曾英庭《高山上的茶園》(2018)和劉純佑《紅色》(2020)為對象，分析影像如何解構移工在臺灣的情欲和身體自主。兩部作品皆聚焦在目前移民工影像文本較少處理的情欲題材，《高山上的茶園》刻畫來自泰國和越南的失聯移工，棲身在高山上的工寮，不同國籍的移工在性和金錢的欲望中掙扎、衝突並引發留與歸的抉擇；《紅色》改編自移民工文學獎同名得獎作品，描述印尼看護與其所照顧的長者跨越勞雇關係，形成親密性，並且非預期懷孕，最終墮胎。這兩部作品以不同的敘事策略探討雇主與移工、移工與移工之間的互動關係，重新思考階級、性別、族裔與國籍等議題，在離鄉勞動或無法歸鄉之時，欲望如何滿足與展演。本文認為這些影像中的移工再現皆為議題導向，揭露在移工身體與情感上所出現來自內外不同層次的驅動力，以及移工性政治的複雜性。

This paper aims to evaluate the relation between transnational migrants and sex politics by particularly focusing on two contemporary Taiwanese short films—Tseng Ying-Ting's Tea Land (2018) and Liu Chun-Yu's Merah (2020), to elicit how they portray migrant workers' lust and bodily autonomy in Taiwanese media. Both the films address sexual expression and related issues, which is rarely explored in existing films on migrants. Tea Land portrays a group of undocumented migrant workers from Thailand and Vietnam who struggle with their desires for sex and money, and the decision between staying in and leaving Taiwan while living in a mountain hut. Furthermore, Merah, adapted from a literary work that won the Taiwan Literature Awards for Migrants, describes an unusual intimate relationship between an Indonesian domestic worker and her employer, leading to an unintended pregnancy and eventually an abortion. Both films adopt distinct narrative strategies to examine the dynamics between employers and migrant workers, and reflect upon various issues, including class, gender, ethnicity, and nationality. Therefore, it can be concluded that the filmic representations of migrant workers are issue-oriented that unpack multi-layered forces driven on migrant workers' bodies and emotions, and the complexity of sex politics. Additionally, it pays attention to the double dialectic thinking about body autonomy and stigmatization of migrant workers' lust.