从《吃风》看新加坡华人的国族认同和华语语系中的边缘族群 = “Eating air” : an analysis on the national identity and marginalised minority amongst Singapore Chinese

• Main Author: 胡莉珊 Oh, Lee Shan
• Other Authors: Quah Sy Ren
• Format: Final Year Project
• Language: Chinese
• Published: 2015
• Subjects: DRNTU::Humanities::Language::Chinese
• Online Access: http://hdl.handle.net/10356/62296
• Institution: Nanyang Technological University

《吃风》由新加坡导演唐永健和黄锦佳自编自导，曾连同另一部本地电影《30》从36部竞选作品中脱颖而出，获得新加坡电影委员会（Singapore FilmCommission，下文将简称为SFC）首次设立的电影剧本发展经费，但最终没有接受 资助，引发广泛讨论。《吃》响应本地90年代开始掀起的电影热潮，再加上是唐永健的首部电影，一些学者也因此进行关注和研究，但目前为止的学术研究都尚未成熟，很多都以二手材料或个人影评展开研究，缺乏准确性和可靠度。因此文本考究许多专家的理论后，用这些一手材料来剖析电影的剧情所要表现的国族认同和华语语系边缘群体，也就是那些方言族群所面对的意识形态霸权。本文首先将从新加坡电影产业的发展脉络着手讨论，看《吃风》之前的本地 电影有何种风貌，再者就是讨论新加坡的语言政策，还有其政策对于方言族群造成的影响。本文接下来会探讨国家机器如何压制那些非主流人士原本应该享有的政治 权，从而引导人民接受政府传达的意识形态。文章的最后则会探讨电影的视觉画面、对白配乐和剧情角色如何在无所不在的政府意识形态霸权底下彰显“国族认同”， 进而挑战国家话语，重现新加坡人的文化记忆。 “Eating Air”, is the directorial debut of local director, Kelvin Tong and film editor, Jasmine Ng. It was also one of the first features to be selected for financial support by the SFC, which offered the film an investment loan, however the directors ultimately declined the offer. “Eating Air” was one of the films in the 1990s after local productions went for a long-haul break. The official stamp of approval from the authority helped to garner attention from the audiences, as well as the academic scholars. But most of the researches are not fully developed, of which some are based on second-hand material or personal criticism and analysis, this suggests there may be a lack of accuracy and reliability in the papers. Therefore this paper will be using largely first-hand material after studying different theories from the experts, and aim to examine the national identity presented in the movie, discussing about the ideological hegemony faced by the marginalised minority, which is the dialect group amongst Singapore Chinese. This paper first gives an overview of the development of Singapore film industry and the characteristics of early local films before “Eating Air”. This paper also discusses the language policies in Singapore and the impact it caused to the dialect group. Through further discussion by using first-hand material, this paper examines how the state apparatuses repress the political rights originally held by the people from the minority, so that they will accept the ideological context constructed by the government. Lastly, this paper reveals how the visuals, sounds, dialogues, storyline and characters of the movie will highlight the national identity of the minority under control of the omnipresent government, in turn challenging the national discourse and representing the cultural memories of Singapore Chinese.