대중기억, 화인성과 여성이민 = 吳村의 말레이시아 화인 영화를 중심으로

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• ABSTRACT
• 1. 대중(人民)기억 : ‘말화’ 영화와 ‘말화’ 문학
• 2. 화인성 : 화인 정치 유형과 국족주의
• 3. 여성 이민 移民, 유민 遺民, 그리고 이민 夷民
• 4. 독신주의, 미친 여자와 화인성
• 5. 말화 문예 독특성, 말공과 ‘비말비화 非馬非華’
• 참고자료