小娘惹•大政府 ：看《小娘惹》里国家意识形态的展演 = Staging national ideology through peranakan lens : a case study of The Little Nonya

• Main Author: 傅诗惠 Poh, Shi Hui
• Other Authors: Kwan Sze Pui Uganda
• Format: Final Year Project
• Language: Chinese
• Published: 2012
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/48613
• Institution: Nanyang Technological University

《小娘惹》(2008年)在新加坡的播出不仅取得了空前的收视率，也掀起了一股“娘惹旋风”。在观众殷切追看的当儿，此剧也成了国家意识形态的宣传者。这和新传媒机构与政府之间的从属关系有关。下文即将讨论新加坡近年出现的国家意识，如何笼络及收编土生华人文化属性，把曾一度被边缘化的土生华人身份，变成正统国家敘事的核心意识，以此建构新加坡国族身份。随后，笔者将关注此剧如何为了迎合大部分对土生华人文化不了解的观众作出调整，以致此剧的正宗性(Authenticity)有所牺牲。最终导致此剧宣扬的一些文化和意识无法成为建构人们的国族意识的有力资源。When The Little Nonya was broadcasted in Singapore, its viewership broke local records and stirred a “Nonya wave” amongst locals and foreigners alike. As its fans religiously stay tuned to every episode, the show also became a practical tool in propagating government-endorsed ideologies. Taking The Little Nonya as an example, I will analyze how Peranakan ideology is construed to intersect with national ideologies. Through which some were selectively endorsed while others not in-line with the government’s policies were staged against. This sums up not only as national ideology but also as an essential resource to the construct of national identity. Thereon, I argue that the drama made adjustments to cater to the targeted audience who were largely unfamiliar with Peranakan culture. The resulted inauthenticity undermined the potential of the Peranakan culture exhibited extensively in the drama, in contributing to the people’s national identity. The paper sums up with a presentation of the position taken by the production team (and possibly the government behind), in negotiating issues of national ideology, government interests and the purpose of culture.