“影戏”与华人离散符号 — 以电影<五月雪>中戏曲的再媒介化为例

초록

As a pivotal origin of the conceptualization of Chinese-language film, Malaysia paradoxically occupies a marginal position in the discursive landscape of Chinese audiences, with its local cinematic productions receiving scant scholarly attention. This study addresses this gap by examining Snow in Midsummer(2023), directed by Malaysian Chinese filmmaker Chong Keat Aun—the first film to directly engage with Malaysia’s traumatic May 13 Incident (1969), which has garnered significant recognition at international film festivals. The film’s significance lies not only in recentering Malaysian Chinese cinema within academic discourse but also in offering a critical text for exploring historical trauma within the Chinese diaspora. Focusing on its strategic remediation of the classical Chinese opera The Injustice to Dou E, this analysis dissects how Chong deploys linguistic signs, indexical signs, and metareferential signs to deeply embed operatic elements into the film’s narrative architecture and aesthetic expression, constructing a unique mode of interlocked embedding characterized by blurred diegetic boundaries. We argue that this structure facilitates a profound symbolic collapse between operatic and cinematic forms, merging their expressive logics to forge an allusive yet potent signification system that articulates the diasporic history, identity struggles, and collective trauma of overseas Chinese communities, thereby providing an innovative artistic lens for understanding Southeast Asian Chinese historical and cultural experiences.

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