厦语影业的明星形象和意识形态 ：以庄雪芳为个案 = The star image and ideologies of the amoy-dialect film industry : a case study on Chong Sit Fong

• Main Author: 杨明慧 Yeo, Min Hui
• Other Authors: School of Humanities and Social Sciences
• Format: Final Year Project
• Language: Chinese
• Published: 2014
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/55633
• Institution: Nanyang Technological University

本文意识到，厦语影业扎根于上世纪五、六十年代，特殊而复杂的话语和意识形态语境之中，而明星研究理论正好提供一个合适的框架，可通过对厦语电影明星的研究，论析鲜有人谈及的，厦语影业及其话语和意识形态语境之间的互动关系。本文选择以最具代表性的“厦语片皇后”庄雪芳为研究对象，通过庄雪芳的明星研究，将厦语影业还原到其所处的话语和意识形态语境里去认识和思考，并反过来了解当时特定社会的话语和意识形态取向。本文首先梳理厦语电影的历史脉络及其前后期特征，如此才能将之后的讨论置回厦语影业的范畴里进行思考。本文主要通过第一手资料的整理，阐述庄雪芳的影星形象，并通过明星研究理论，论析这形象所体现的话语和意识形态，及其所能产生的意义，由此试析厦语影业的话语和意识形态层面，并为庄氏的影星现象做个记录。本文最后也将揭示庄氏影星形象的分裂性，并探析其分裂性，即其调解矛盾的意识形态之功能，当置于厦语影业独特语境及其独特运作模式之中时，所能展示的意义。 This paper acknowledges that the Amoy-dialect film industry is set in the unique discourse and ideological context of the 1950’s to 60’s, and that the theory of star study provides an appropriate framework to facilitate the discourse and ideological analysis of this industry. Through the star study of the “Queen of Amoy-dialect Films”, Chong Sit Fong, this paper aims to examine the Amoy-dialect film industry within its specific discourse and ideological context, and conversely, to understand the discourse and ideological inclinations of that time. This paper first gives an overview of the development of the Amoy-dialect film industry and the characteristics of early and late Amoy-dialect films, so that further discussion could be related back to the specificities of the industry itself. Through the discussion of first-hand materials, this paper examines the star image of Chong Sit Fong, and via the theory of star study, analyses what ideologies and discourses her star image embodies in the unique context of the 50’s and 60’s, as well as the possible implications of this, thereby examining the industry in the specificity of its discourse and ideological context, and documenting Chong Sit Fong’s star phenomenon. This paper also reveals the contradictions in Chong’s star image, and discusses what these contradictions could suggest about the interaction between this unique film industry and its unique context.