重绘马共影像的人民记忆， 以廖克发导演的《不即不离》和《菠萝蜜》为例 = Remapping the popular memory of the Malayan Communist Party : a case study of absent without leave and Boluomi by Lau Kek Huat
马来亚共产党于1989年与马泰政府签订《合艾和平协议》后，结束多年来的战役。至今马共走进历史之久，但其作为反殖反帝抗战主力的事实，为大众留下的记忆依旧是被官方所规训的刻板印象，仍在马来西亚视为被禁止公开讨论的议题，相关电影也遭到禁播，只有部分与马共相关的文学书写相继出版，为后世提供马共历史的各个面向。马共影像如何以此尝试打破官方的一元叙事方式是本文关注的重点。本文以廖克发导演的纪录片《不即不离》及剧情片《菠罗蜜》为研究对象，把第一手口述采访与影像素材设为“影史互证”的方式，探讨马共影像是否以及如何打破官方叙事。在马共影像主观的情感色彩下，笔者发现导演一面通过“黑幕”、总体观论述等，再现马共反殖...
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| Format: | Final Year Project |
| Language: | Chinese |
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Nanyang Technological University
2022
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| Online Access: | https://hdl.handle.net/10356/155718 |
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| Institution: | Nanyang Technological University |
| Language: | Chinese |
| Summary: | 马来亚共产党于1989年与马泰政府签订《合艾和平协议》后，结束多年来的战役。至今马共走进历史之久，但其作为反殖反帝抗战主力的事实，为大众留下的记忆依旧是被官方所规训的刻板印象，仍在马来西亚视为被禁止公开讨论的议题，相关电影也遭到禁播，只有部分与马共相关的文学书写相继出版，为后世提供马共历史的各个面向。马共影像如何以此尝试打破官方的一元叙事方式是本文关注的重点。本文以廖克发导演的纪录片《不即不离》及剧情片《菠罗蜜》为研究对象，把第一手口述采访与影像素材设为“影史互证”的方式，探讨马共影像是否以及如何打破官方叙事。在马共影像主观的情感色彩下，笔者发现导演一面通过“黑幕”、总体观论述等，再现马共反殖时期的人民记忆，一面企图通过画外音等电影镜头语言，把妖魔化的马共叙事转变为有褒有贬的人性面向。
The Malayan Communist Party (MCP) was dissolved in 1989 after the Peace Agreement of Hat Yai had been signed, ending the warfare that had been lasting for years. Despite being a force that had fought against colonialism and imperialism, the public still perceives MCP negatively after it had been dissolved due to the influence of official parties. MCP remains a taboo topic that is prohibited from public discussion in Malaysia and local movies that touch upon this sensitive topic were banned. Many MCP writings have been published in recent years, presenting various aspects of MCP history with different perspectives. This article focuses on how the MCP films attempt to break the official monistic narrative. This research paper revolves around the documentary film Absent Without Leave and the movie Boluomi, which are produced by Lau Kek Huat, where he sets the first-hand oral interview and video material as the method of "mutual verification of film history". He further explores whether and how the CPM image can break the official narrative.
As the films portray the emotional aspects subjectively and use the language of the film lens such as the masks and offscreen, the director remapped the popular memory during the anti-colonial period of the MCP and transformed the demonized narrative of the MCP into a human nature way. |
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