從馬來西亞華語驚悚電影《9.13回家》和《南巫》談華人的本土信仰和邊界

Discussing Chinese Localized Beliefs and Territories through Malaysia’s Thriller Films 9.13 The Returning and The Story of Southern Islet

影视文化在傳播的過程中，會體现出不同文化背景下的信仰差異，這篇論文主要是透過根據真實故事改編的華語驚悚電影《9.13回家》和《南巫》，從影视作品所反映出的種族、宗教等角度，探討鏡頭下的馬來西亞華人本土信仰，尤其是華巫溶合的的信仰特色。電影鏡頭彰顯了一個多元族群、多元宗教並存的國家，呈現出多樣性的思想和生活。《南巫》更揭櫫了鮮為中文學界所知的稻靈信仰。這項研究探討馬來西亞華語影視製作、宗教信仰本土化、宗教信仰地域性邊界化等相關問題。本文提出「馬來西亞華人傳統信仰」是涵蓋膜拜其他民族的神明。相較於源自中國原鄉的神明，電影中華巫溶合的本地神明邊界是移動的，可善可惡，可神可鬼，甚至可男可女。這項研究不僅透過視聽語言的分析，也進行了實地考察和訪談，以探尋影視載體下不同宗教信仰和文化觀念的熒幕表達和文化內涵。

Through the Chinese-language thriller films 9.13 The Returning and The Story of Southern Islet, which are based on true stories, this paper explores the localised beliefs of Malaysian Chinese, particularly the syncretic belief of Chinese and Malay’s. These films highlight a the coexists of the multi ethnics and religion in the nation, presenting by a va-riety of thoughts and lifestyles. The Story of Southern Islet even sheds light on the lesser-known Sinicized deity from“Semangat padi”. This study probe into various interconnected issues such as the production of Chinese-language films in Malaysia, the transmission of religious beliefs, the localization of these beliefs, and the regional boundaries of religious faith. This paper argues that“Traditional Malaysian Chinese Beliefs”encompass the worship of deities from other ethnic. In contrast to deities originating from China, the local deities depicted in the films are fluid in nature, capable of both benevolence and malevolence, and can manifest as gods or ghosts, even taking on male or female forms. In this research, the researchers not only analyze audio-visual language, but also field visits along with interviews to explore the screen representation and cultural significance of different religious beliefs, together with cultural concepts within the medium of film.