The Study Of Culture Dilemma And Identity Search In New Malaysia-Chinese Film

The "NMC Film" is the abbreviation of "New Malaysian Chinese Film".It refers to: since around till now,Malaysian directors represented by Yasmin Ahmad,James Lee,Chui Mui Tan,etc.,have used digital photography technology to show the real life of Malaysians at the bottom,centered on the Malaysian Chinese ethnic group.Writing the reality of ethnic groups with individual experiences and cultural experiences,it has become a powerful weapon for Malaysian Chinese ethnic groups to interpret themselves and criticize authority,including "Sepet","Flowers in My Pocket" and "Love Conquers All".The "privileges" of Malays,enshrined in the constitution and unwilling to amend it,have long created ethnic tensions in Malaysia.The Chinese ethnic group excluded by the dominant discourse is not only difficult to obtain equal political and social status,but also facing the rewriting of ethnic identity.Due to Malaysia’s film regulations,Chinese films are banned as foreign films in Malaysia,and the Chinese ethnic group has lacked channels to express themselves and fight against privilege through images for decades.Since the new millennium,thanks to the introduction and development of digital photography technology,Malaysian Chinese films have reappeared.At present,the research on the ethnic identity of new Malaysian Chinese films focuses more on a fixed identity stage,but always lacks a complete and fluid identity transformation process.Therefore,the starting point of this paper is to sort out the transformation process of the Chinese identity in the new Malaysian Chinese films by combining the corresponding social and cultural background and relevant films.Based on Homi Bhabha’s hybrid identity theory,this paper analyzes specific films by summarizing the text reference of new Malaysian Chinese films and combining with the national political and cultural reality of Malaysia.By combining similar thematic expressions in different films or different thematic orientations in the same film,this paper attempts to explore the process of ethnic identity transformation of Chinese ethnic groups from resistance to identity in new Malaysian Chinese films.The paper is based on a linear causal logical sequence.First,subject to the existing ethnic conflicts,in the face of the Malaysian government’s undiscerning idea of building a new nation-state,the new Malaysian Chinese films take a stance of resistance by presenting only the real life of the Malay Chinese at the bottom,emphasizing the Chinese identity in a radical way,and writing a narrative of resistance.However,the separation will eventually come to an end.Faced with the social situation of political discourse,the passing away of the old generation of Chinese immigrants,and the exodus of the new generation,the Malay Chinese lack a solid identity basis.The new film shows a kind of melancholy and confusion shared by the Chinese community.Secondly,through resistance to contact,contact to understand,a kind of abandoned authority discourse,born after the integration of the bottom of the "new world",has become a new textual interest of the new Malaysian Chinese film.Finally,facing the invasion of western modernization under the background of globalization,the new film breaks away from ethnic expression and begins to write the national allegory of the third world to fight against the foreign "other".The thesis is divided into five parts.The first part introduces the development history of Malaysian films,and the birth background of new Malaysian Chinese films,including the emergence of new technologies and new policies,as well as the historical status quo of ethnic struggle in Malaysia.The second part begins with One Malaysia! The slogan,discusses the Malaysian government’s undifferentiated and homogeneous idea of new nation-state construction,and expounds how the new Malaysian Chinese film tells the story of pure Chinese,residues the authoritative discourse,and emphasizes the uniqueness and immutability of Chinese identity.The third part introduces the current situation of the departure of the old generation of Chinese immigrants and the exodus of the new generation of local Chinese in the New Malaysian Mandarin film,and discusses the dilemma of resistance and identity of the Chinese community in the process of mainstream discourse oppression and modernization development.The fourth part focuses on the concept and practice of bottom-up and harmonious ethnic integration shown in the new film,and discusses that after resistance and entanglement,the Chinese ethnic group chooses a non-political "Malaysian" identity accepted by other ethnic groups,completing the process of self-resistance-contradiction-new integration of cultural identity transformation.The fifth part depicts the development process of Malaysia as a third world country,explores the transcendent ethnic discourse of the new film,and focuses on the bottom experience of the third world in which the whole Malaysian people and their families are alienated by money,discarded by the secular society and deconstructed by modern experience.