摘要

电影是再现政治的特殊形式。本文通过对电影《刮痧》的文化阅读，超越文化差异的表层结构，提供一种多元文化语境中文化选择与身份政治关系的全新诠释。男主人公享受着文化身份的解放，认同异质美国文化，信仰“美国梦”精神。刮痧事件粉碎了其盲目的认同感。围绕刮痧是否合法，中美文化试图垄断解释刮痧的权利，争夺个体身份与文化认同。刮痧冲突，在文化领域是美国意识形态与中国思维方式的对抗，对于移民个体则更是文化记忆与认同的冲突。移民受到多元文化冲击，主体意识被两种文化身份所分裂。而两种文化都在以各自的形式抵抗文化身份的杂体前景，这正是造成文化冲突的最终原因。通过对刮痧文化冲突的成功描述，影片反映了身份浮动的多元文化时代移民和本土人的身份问题，暗示文化身份的杂体形式才是解决跨文化实践中身份问题的理想途径。
电影始终是电影，加上导演和主要演员都是中国人，电影的结局未免理想化了点。现实生活中，很多移民仍然被身份政治问题困扰，即使是在美国土生土长的移民二代仍存在文化认同的问题。因此如何实现真正的文化融合仍然是值得探究的。

关键词：移民，身份政治，文化杂体

ABSTRACT

Film is a special form of representing politics, which blurs the dividing line between illusion and reality, superstition and belief, culture and nature. So using the cultural approach, the present paper picks up the Film Gua Sha as an example, aiming to provide an interpretation of cultural identity politics of the first generation immigrants. The protagonist Xu Datong enjoys the liberation of cultural identity and identifies with the American dream. Yet the Gua Sha incident emerges to smash his blind American identification. Around the validity of the Gua Sha treatment, Chinese and American cultures not only combat with each other for the monopoly of knowledge in understanding Gua Sha, but also compete for the subjective identification and the individual identity. In the cultural field, it is a battle between the American ideologies and Chinese ideologies, while for the individual subject, it is more as the confrontation between the past cultural memory and present cultural identification in subjectivity. So in understanding the cultural myth of Gua Sha, it is necessary to involve identity issues. For immigrants, identity is always floating and traveling, without a final destination, except some temporary location. So in American multicultural context, Chinese immigrant is shaped by the multicultural form of ethnicity and fragmented between two identities. The two cultures both resist the hybridity future of culture identities, and in my opinion, this is the ultimate cause of the cultural clash in the Gua Sha incident. Through the successful portrayal of the cultural clash around the Gua Sha treatment, the film reflects the identity problems of both the Chinese immigrants and the American host in an identity-flexible multicultural era. It is implicated that the hybridization of cultures and identities is the ultimate answer to the identity problems in culture crossings as well as a possible path towards the cultural amalgamation. However, film is just film. The happy ending of Gua Sha seems much too ideal, which is to Chinese audience’s taste. While in real life, many immigrants are still suffering from identity problems, even those ABCs. So, how to realize genuine cultural amalgamation is still an annoying subject.

Keywords: Immigrants, Identity Politics, Cultural Hybridity