上海视觉

上海视觉 ›› 2024, Vol. 0 ›› Issue (1): 153-158.

• 新锐观点 • 上一篇    

《南巫》:民间信仰掩映下的离散华人及其身份认同

吴诗琪, 胡超   

  1. 广州美术学院,广州 510220
  • 出版日期:2024-02-20 发布日期:2024-07-10
  • 作者简介:吴诗琪(1997 — ),女,广州美术学院,在读硕士。研究方向为美术历史与理论。
    胡超(1972 — ),男,中央美术学院博士。广州美术学院新美术馆学研究中心讲师。主要从事全球艺术史和政治、东南亚美术、华侨华人视觉文化、当代艺术和非遗研究。

The Film The Story of Southern Islet: Dispersed Chinese and Their Identity under the Veil of Folk Beliefs

WU Shiqi, HU Chao   

  • Online:2024-02-20 Published:2024-07-10

摘要:

张吉安首部个人导演长篇作品《南巫》是一部以马来西亚民间信仰为题材的影片。电影故事改编自导演的童年记忆,导演以巫术这一民间信仰为叙事符号,展现了马来西亚华人这一边缘群体的身份认同困境。导演自身的离散性与电影中的父辈故事共同为观者呈现了一部马来西亚华人的离散历史及其身份认同变迁史。马来西亚华人逐渐打破历史中的各种界限,在深度融入居住国社会的同时,仍维持着对祖(籍)国文化与社会的强烈认同。

关键词: 张吉安, 《南巫》, 离散华人, 身份认同

Abstract:

The Story of Southern Islet is the debut feature film directed by Chong Keat Au, with Malaysian folk beliefs as its central theme. Drawing inspiration from the director’s own childhood experiences, the film utilizes witchcraft as a narrative symbol to illustrate the dispersed history of Malaysian Chinese and the identity predicaments faced by this marginalized group. The director's own experience of diaspora, along with the stories of the previous generations depicted in the film, collectively present a history of diaspora and the evolution of identity among Malaysian Chinese viewers. Malaysian Chinese have gradually broken through various historical boundaries, maintaining a strong sense of cultural and social identity with their ancestral homeland while deeply integrating into the host country's society.

Key words: Chong Keat Aun, The Story of Southern Islet, dispersed Chinese, identity