论析赵德胤《灼人秘密》对女性压迫的刻画 = Study on the representation of female oppression in Midi Z's film Nina Wu

• Main Author: 傅楚婷 Fook, Chu Ting
• Other Authors: Yeo Min Hui
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2025
• Subjects: Arts and Humanities; Chinese; Structural violence
• Online Access: https://hdl.handle.net/10356/182999
• Institution: Nanyang Technological University

赵德胤是一位在缅甸出生的台湾导演，其成名作包括《归来的人》、《穷人·榴莲·麻药·偷渡客》、《冰毒》（称之为“归乡三部曲”）等，主要集中于讲述缅甸华人的故事。关于赵德胤的讨论，大部分集中于讨论他的作品如何体现出缅甸贫困社会的真实面貌与所面临的困境。不同于他早期以缅甸为背景的作品，2019年首映的《灼人秘密》不聚焦于缅甸华人也不讲述缅甸故事，而是集中讨论“女性所受到的压迫”。在电影研究的层面上，研究《灼人秘密》有助于突破聚焦于赵德胤缅甸华人身份的研究窠臼，更深入和全面地了解赵德胤作为作家导演（auteur director）的特色，同时也有助于探讨当代华语电影对女性议题的处理。本文重点分析电影《灼人秘密》如何刻画和处理女性压迫的议题，论析电影如何从结构性的暴力、女性的心理挣扎，以及男性凝视这三个层面，来表述女性在当代社会里所面临的层层压迫。这成为了导演赵德胤的另一种作者特色，也构成当代华语电影里针对当代性别议题的另一把声音。本论文最终要指出的重点是赵德胤通过《灼人秘密》有效地再现了女性的压迫，因为他不只再现了现实生活中所存在的客观问题，同时也注意到了女性心理的刻画和再现的主观问题。但不能忽略的是，赵德胤本身也没办法脱离自己身为男性的男性凝视并在《灼人秘密》中无意识地复制它。 关键词：《灼人秘密》、结构性的暴力、女性的心理挣扎、男性凝视 Midi Z is a Taiwanese director born in Myanmar and is known for his films “Return to Burma”, “Poor Folk”, and “Ice Poison”, also known as the “Homecoming Trilogy”. These films mainly focus on telling the stories of the Chinese people in Myanmar. Most discussions about Midi Z focus on how his work portrays Myanmar’s poverty issue. Unlike his earlier films about Myanmar, “Nina Wu” which premiered in 2019, does not focus on Myanmar or the Chinese people in Myanmar but on the oppression women face today. On the level of film analysis, the production of “Nina Wu” helps break through the research stereotypes that focus on Midi Z’s Burmese Chinese identity and gain a deeper and more comprehensive understanding of his characteristics as an auteur director. At the same time, it also helps to explore the treatment of female issues in contemporary Chinese-language films.This paper focuses on analysing how the film “Nina Wu” portrays and deals with the topic of female oppression and discusses how the film expresses female oppression faced by women in contemporary society from three levels: structural violence, women's psychological struggle, and the male gaze. This has become another auteur director characteristic of Midi Z and constitutes another voice on contemporary gender topics in contemporary Chinese films. The main argument of this paper is that Midi Z effectively reproduced the oppression of women through “Nina Wu” as he not only reproduced the objective problems faced by women but also paid attention to the subjective problems of female psychological struggle. However, it cannot be ignored that Midi Z himself could not escape the male gaze as a man and unconsciously reproduced it in “Nina Wu”. Keywords: “Nina Wu”, structural violence, women's psychological struggle, male gaze