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許維賢(Hee Wai Siam),문희정(번역자) 중국영화포럼 2016 영화중국 Vol.3 No.1
This article examines three Sinophone films shot in Singapore by director Wu Cun from China after the Second World War. Through close reading of these filmic texts and reportings and discussions of them in the 1940s Singapore-Malayan cinema tabloids Amusement and Dianying Quan, this article aims to reconstruct the popular memory of “Mahua(Malaysian Chinese) Cinemas” and their relationship with “Mahua Literature” and Chinese film culture. It also probes the naming of “Mahua Cinema” in their temporal context and how they re-present post-war Malayan Chinese female migrants, loyalists, and foreigners, with reference to historical materials on the migration of Chinese females to Nanyang in early days. Women play the lead in all three films, while men assume supporting roles. Through the ramblings of a madwoman, it predicts the binary oppositional thought of the cold war period. This article also critically employs relevant Cold War Singaporean and Malaysian theories to analyse and compare the Chineseness and political groups in these films. All three films were produced after the war, when the Malayan Communist Party, who debated aggressively about the “uniqueness of Malayan Chinese literature and art”, was burgeoning. Besides attempting to portray the real Singapore-Malayan local colour in that time and place as advocated by the “uniqueness of Malaysian Chinese literature and art”, Wu Cun and his local production partners, the Shaw Brothers Company, also re-presented the left-wing practice of Malayan Communist Party guerillas and their supporters that had been suppressed by mainstream historical discourse. This article holds that the complexity of Chineseness and its ideology in these three early Mahua films lies in their being “neither Malaysian nor Chinese”, that is, being neither purely Malaysian Chinese nor completely Overseas Chinese. This suggests, therefore, that these films were completely or selectively forgotten when current mainstream Mainland Chinese film history, Hong Kong/Taiwan film history, and Singaporean and Malaysian film history were written.
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〈新客〉 : ‘화어계’로 싱가포르와 말레이시아의 첫 영화를 논하다
許維賢(HEE Wai Siam),문희정(번역자) 중국영화포럼 2015 영화중국 Vol.2 No.1
Based on historical evidence from a large number of newspapers in 1920s, this article argues the assertion of the international academic circle that the film Xin Ke was never released. Thus, the historical significance and status of Xin Ke as the first Singaporean and Malaysian film is established. Additionally, we describe the origins of the “Independent Film Company of Nanyang Liu Bei-jin” and the public response to the company. The article also examines the moving and tragic life of Liu Bei-jin, the film company’s head and former Namchow mechanic, who left Singapore and Malaya to fight in the Chinese War of Resistance against Japan. Moreover, the article describes the Xin Ke production team and the film’s reception. The problems that the film confronted at the time of its production are examined, including the censorship of the British colonial government in the 1920s. The stylistic oscillation of Xin Ke’s screenplay between the Nanyang style of literature and art and Chinese literature and art are discussed. Furthermore, the manner in which the film addressed the disputes between the two major Chinese communities in Nanyang, that is, the Xin Ke (new immigrants) and the Peranakan (the Straits Chinese), is examined. This article locates these issues in the general context of the contemporary Singapore-Malaysian Chinese historical discourse to encourage reflection and questions. The unfortunate death of Liu Bei-jin and the existence of Xin Ke have been obscured in the history of the so-called Chinese diaspora, the history of China and in the historical discourse regarding the imperialism and the universal chauvinism that result from English-language hegemony. This obfuscation suggests that the historical discourses that rely on above-mentioned theories must be countered by a new theory of historical discourse. The Sinophone theory, in which Chinese-language is studied as a minority language, can serve as a starting point for our reflection on this topic. Finally, this article discusses how Xin Ke displays the characteristics of multiple sounds and multiple orthographies that typify the creolization of Chinese. Liu Bei-jin, who was well versed in six languages, and his Xin Ke provides critical historical evidence regarding the origins of the Creole frequently heard in contemporary Singaporean and Malaysian films and a valuable perspective on the disputes regarding indigenousness, colonialism and Chineseness.
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