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本文拟从东亚新移民女性在跨国婚姻与移动迁徙之过程中所面临的语言、文化以及生活上之差异,进行影像文本之分析比较。借由朱诗倩、杨力州的《新宿驿,东口以东》(2004年)与林筱芳的《外籍新娘在美浓》(2001年)两部纪录片之交互对照,指出在资本全球化下,自1980年代以来东亚地区这些离散的新移民女性在异国(日本/中国台湾)结婚生子后,各自身处在不同文化和族群之间,尝试融入她们所移居的国度与环境;同时由于对第二代子女的教养等需求,而开启对于在地语言的学习、文化的认同及种族歧视的质疑。本文除了论述纪录片中再现东亚地域境内女性在资本制度下所受到的种族/阶级/性别之多重压迫与跨国姐妹情谊,亦呈现出新移民从不同文字/文化的学习产生认同、归属感之过程。在劳动与跨国婚姻制度的迁徙情境中,本文拟针对上述之代表文本案例,进一步透过影像与镜头探讨当代东亚跨国婚姻中女性新移民的特殊现况与处境。
This article attempts to analyze and compare the image texts from the differences in language, culture and life faced by newly immigrant women in East Asia in the process of transnational marriage and migration. Through the cross-reference of two documentaries by Zhu Shiqian and Yang Li-zhou, “Shinjuku Station, East of East Gate” (2004) and Lin Xiaofang’s “Foreign Bride at Mino” (2001), it is pointed out that under the globalization of capital, Since the dispersal of new immigrant women in East Asia after marriage and childbirth in different countries (Japan / Taiwan), they are each located between different cultures and ethnic groups in an attempt to integrate into the country and environment in which they are relocated. At the same time, Upbringing and other needs, but to open the language learning, cultural identity and racial discrimination questioned. In addition to discussing the multiple racial / class / gender opponents and transnational sisterhood that women in East Asian regions reproduce under the capital system in their documentary films, this article also presents the process of new immigrants’ recognition and sense of belonging from different literary / cultural studies. In the migration context of the system of labor and transnational marriage, this article aims to further explore the special situation and situation of female immigrants in transnational marriage in East Asia through images and lenses in the light of the representative texts mentioned above.