後新電影的混音景觀：《第四張畫》與《椰仔》的新移民二代家庭與族群關係

Polyphonic Landscape in Post-New Wave Cinema: Family and Ethnic Relationships of Second-generation Immigrants in The Fourth Portrait and Ye-Zai

本文探討當代臺灣電影如何再現跨國移動形成的家庭、親密性與族群政治，尤其聚焦於新移民二代如何定位自我，並重新想像家庭形式與族群關係。研究材料為兩部以移民家庭為題材的劇情片：鍾孟宏《第四張畫》（2010）描述十歲男孩眼中的跨文化家庭，由中國婚姻移民母親、臺灣繼父與多個類父親角色組成；曾英庭《椰仔》（2013）刻畫具雙族裔背景的男主角與泰國看護康雅組成的跨族裔聯盟。本文的論述重點，將圍繞在跨種族與跨文化家庭的影像敘事，探究新興家庭型態與文化地景的動態連結，電影中的混音表現如何擾動固有的家庭樣貌，是以指出，「家」的母題反映出跨國移動帶動了人口結構與家庭關係的改變，新移民二代亦在此過程中，展開自我認同的建構。

 

This paper explores how contemporary Taiwan cinema represents family,intimacy, and ethnicity driven by transnational migration with a focus on secondgenerationimmigrants, and examines how they define themselves and reimaginefamily form and ethnic relationships. Two feature films analyzed in the paperboth centralize its theme on immigrant families: Chung Mong-Hong’s TheFourth Portrait (2010) depicts a cross-cultural family, consisting of a Chinesemother, Taiwanese stepfather, and a few father-like figures, from the perspectiveof a ten-year-old boy. Tseng Ying-Ting’s Ye-Zai (2013) focuses on the journeyof a mixed-race character Ye-Zai and a Thai migrant worker Ganya who forma cross-ethnic alliance. This paper sheds light on the cinematic narrative ofinterracial and cross-cultural family to examine the dynamic association betweenthe newly-formed family relationship and cultural landscape. It also examineshow the polyphonic expression adopted in the films challenges the typicalfamily structure. Finally, it proposes that the trope of “home” in contemporaryfilmmaking has been redefined to reflect the growing population of marriagemigrants and migrant workers and the transformation of family structure.Meanwhile, the second-generation of immigrants have constructed theiridentities in addition to recreating a home.