从赵德胤的作品中看缅甸华人的边缘状态 = Midi Z: an analysis on the marginalised Burmese Chinese

• Main Author: 彭子纯 Pang, Zi Chun
• Other Authors: Ting Chun Chun
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2023
• Subjects: Humanities::Language::Chinese
• Online Access: https://hdl.handle.net/10356/165102
• Institution: Nanyang Technological University

赵德胤是一位在缅甸出生的台湾导演。自2011年，赵德胤创作了许多作品，其中包括《归来的人》、《穷人·榴莲·麻药·偷渡客》、《冰毒》（称之为“归乡三部曲”）以及《再见瓦城》等剧情电影，他拍摄的纪录片包括了《翡翠之城》和《挖玉石的人》等。无论是剧情片还是纪录片，赵德胤的作品都集中于讲述缅甸华人社群的故事，而贫困是贯穿所有作品的共同课题。 在缅甸严厉的审查制度下，缅甸贫困的社会面貌是被审查严禁的话题，因此在主流的缅甸电影当中，贫困是不被看见的。而赵德胤身份多元化的因素，允许了缅甸贫困的社会面貌被看见。他的作品曾在至少100多个电影节上展出，也获得过许多奖项。 本文首先从概括缅甸政治历史着手，从而理解赵德胤作品背后的创作语境以及其重要性。随后，本文将通过纪录片与电影中的叙事话语、视觉画面和剧情与角色，分析赵德胤作品中缅甸华人“危脆性”和“裸命”的边缘状态。 Midi Z is a Taiwanese director born in Myanmar. Since 2011, Midi has produced a number of works, including, but not limited to, feature films such as “Return to Burma”, “Poor Folk”, “Ice Poison” (known as the "Homecoming Trilogy") and “The Road to Mandalay”, and documentaries such as “City of Jade” and “Jade Miners”. Whether in feature films or documentaries, Midi’s work focuses on telling the stories of the Chinese community in Burma, with poverty being a common theme throughout all his works. Under Burma's strict censorship system, the social aspects of poverty in Burma are a subject strictly forbidden, and therefore poverty is not commonly, if any at all, seen in Burmese films. The diversity of Midi's identity has allowed the topics of poverty in Burma to be seen. His work has also been proven to be internationally recognized, having shown in at least 100 over film festivals and won multiple awards. This paper first begins by outlining the political history of Burma in order to understand the background context behind Midi's work and its importance. Through the narrative discourse, visual images, and plots and characters in his documentaries and films, the paper will then analyze the marginality of the Chinese in Burma through concepts of "precariousness" and "bare life" in Midi’s work.