|Title:||Representations of familial intimacy across the Taiwan Strait: The reinvention of homeness among Taiwanese wives in documentaries||Authors:||HSIN-CHIN HSIEH||Keywords:||cross-Strait migration; homeness; representational politics; female migrants; familial intimacy; taishang; WOMEN||Issue Date:||2015||Publisher:||SAGE PUBLICATIONS INC||Journal Volume:||29||Journal Issue:||1||Start page/Pages:||89-106||Source:||CHINA INFORMATION||Abstract:||
This article investigates the cinematic representation of Taiwanese businesspeople’s (taishang (Chinese language presented.)) family relations in China, and the concomitant transformation of homeness. The emergence of Taiwanese enterprises in China began in the late 1980s, and the attendant migration has resulted in the separation of families and a change in women’s roles as their husbands travel between Taiwan and China. This article sheds light on how documentary film portrays cross-Strait migration, as seen through the lens of taishang wives. Two documentary films – Chang’e’s Monthly Visit ((Chinese language presented.), 2003) and A Wife’s Stage ((Chinese language presented.), 2003) – respectively produced by Taiwanese and PRC filmmakers are discussed to demonstrate the transformation of women’s roles within the domestic sphere and the reinvention of homeness. Homeness is used as a trope of representational politics on both sides of the Taiwan Strait, and as a site of cultural production impacted by migration. This article argues that in Taiwanese documentary filmmaking, home is associated with the split family structure through the portrayal of wives as subordinated victims, whereas PRC filmmakers present China as an ideal and harmonious homeland.
|Appears in Collections:||臺灣文學研究所|
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