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ID:
137543
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| Summary/Abstract |
This article investigates the cinematic representation of Taiwanese businesspeople’s (taishang 台商) 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 (嫦娥月事, 2003) and A Wife’s Stage (太太的舞台, 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.
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| 2 |
ID:
175577
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| Summary/Abstract |
Why are female migrants rarely attacked in “Sons of the Soil” (SoS) violence? Based on interviews with key stakeholders in Indonesia and China, we argue that women are shielded from the brunt of migration-related violence due to gendered patterns of migration and economic integration that highlights the positive contributions of female migration to the host region while drawing attention to the threat posed by male migration. By bringing together the literature on migration, gender, inequalities, and conflict, this article makes a foray into the previously unexamined dynamics affecting victimization patterns in armed conflict in general and SoS conflict in particular.
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