跨國女性移工的角色與形象探究

Abstract

本文選取華人電影中三部以「跨國移工」為主題，揭示當前社會階級、移工、性別、跨國文化議題的代表作進行評論。三部電影中所論述的觀點包括跨國移工、女性家庭幫傭和國際移民、社會階級的歧視，分別探討新加坡、香港和臺灣幫傭問題的處境與角色。本研究透過電影分析《爸媽不在家》（2013）、《桃姐》（2011）和《印尼女傭尤尼希》（2003）三部電影與文本比較分析，以及蒐集相關研究資料及文獻，嘗試紀錄和分析跨國移工與女性幫傭必須面對的一些家庭、階級和身份認同等問題。在家庭方面，女性幫傭面對社會價值觀的父系家族觀念，以及自命擔負起維繫家族繁衍的責任，其經濟上必須表現出「經濟獨立」，尤其是電影《爸媽不在家》中的Teresa和《印尼女傭尤尼希》，她們在海外工作為家庭所需要的金錢援助。她們面對的是一個又一個的難題，包括簽證問題、與社會相容的問題、種族歧視問題、國籍問題、身份認同問題等，這些問題很值得研究和探討。在本文中，筆者仔細比較三部電影的相同、相似與異同之處，尤其三部電影皆是以"女性幫傭與移工"為主軸，藉此機會提出臺灣社會對待女性移工、幫傭、階級等社會問題，這三部電影中的女性主人翁，皆展現了女性的勞動力、活力和親和力，通過親切的電影圖像，面對生活壓力及不平等的待遇，努力在異地社會生存及生活下去。

In this paper, we closely analyze the following three representative works of recent films regarding how female foreign laborers are treated in Taiwan: "A Simple Life" (2011), "Yuning's Return" (2003), "ILO ILO" (2013). These three films reflect well-meaning endeavors that cast migrants through the usage of genial cinematic images, which equate them as family members. Meanwhile, the audience is encouraged to identify with the protagonist (the workers) and to develop cinematic intimacy with the characters. Our assessment of cinematic representation takes place within a critical analysis of the constitutive logic of domestic/healthcare work, namely the paradox of being “like a family, but not quite”. In spite of the fact that these films’ filmmakers attempt to include the migrant laborers as “one of the family,” such benign efforts are entangled with complex border management. As a result, in examining these three films we inquire into the unsettled tensions between congenial affirmation of migrant workers and the constrictive governance of migrant labor for the state’s regulatory purposes.