| 摘要: | 本研究採文本分析的方式，以《邪降：惡魔的藝術》（2005）、《薩滿》（2021）、《一年生》（2016）與《鐵石心腸》（2019）四部泰國影視作品為例，對比由恐怖電影所建築的「鬼魅」世界與以浪漫都市偶像劇打造的「偶像」世界之間的形象差異。
本研究發現兩種形象之間的矛盾是源於泰國內部存在已久的族群與區域歧視問題，由於泰國恐怖電影中的落後形象被置放於泰國偏鄉與邊緣族群身上，所以對泰國觀眾而言，這些負面特質並不屬於真正的泰國；而偶像劇中所展現的現代化與菁英形象，則反映出來自泰國中心理想的菁英品味——也就是現代「泰國性」；但對台灣觀眾而言，前者所展示的落後形象與「泰勞」的負面記憶雷同，這正是因為來台的「泰勞」也大多來自貧窮的泰國偏鄉地區，所以台灣觀眾所認知的「泰勞」外貌特質雖然並非泰國全貌，但也絕不是毫無根據的偏見。
然而隨著偶像劇的發展，台灣觀眾會透過泰國流行文化接觸到更多的正確「泰國性」，並且習得辨認「非泰」的能力，也就是讓「泰勞」族群的文化、傳統、樣貌再次排除在泰國之外。最終，由台灣觀眾與泰國觀眾共築一種現代泰國的同質化想像。也就是說，台灣人的偏見和歧視並沒有消失，台灣人的價值觀也沒有受到任何的挑戰，泰國的落後鄉村依然存在，只是再次被排除於現代泰國之外。
;This Master thesis adopts the textual analysis approach to contrast the image differences between the "ghosts" world constructed by horror films and the "idol" world crafted by romantic urban idol dramas, through four Thai movies and dramas, namely "Art of the Devil" (2005), "The Medium" (2021), "SOTUS The Series" (2016), and "Heart of Stone" (2019).
The research reveals that the contradiction between these two images stems from long-standing issues of ethnic and regional discrimination within Thailand. The underdeveloped images portrayed in Thai horror films are associated with rural and marginalized communities in Thailand. For Thai audiences, these negative traits do not represent the true essence of Thailand. On the other hand, the modern and elite images depicted in idol dramas reflect the idealized elite taste from the perspective of central Thailand, which is the modern "Thainess." However, for Taiwanese audiences, the underdeveloped image presented in the Thai horror films aligns with negative understanding associated with "Thai labor," as many Thai laborers in Taiwan originate from impoverished rural areas of Thailand. Although the impressions and appearances attributed to "Thai labor" recognized by Taiwanese audiences may not capture the full diversity of Thailand, they do not necessarily reflect a wholly inaccurate understanding.
Nevertheless, with the development of Thai idol dramas, Taiwanese audiences gain exposure to a more accurate understanding of "Thainess" through the Thai popular culture. They also develop the ability to discern non-Thainess, effectively excluding the cultural, traditional, and physical attributes of the "Thai labor" groups. Ultimately, Taiwanese and Thai audiences collaboratively construct a homogeneous imagination of modern Thailand. In other words, Taiwanese biases and discrimination persist, their values remain unchanged, and the underdeveloped rural Thailand still exists but is once again excluded from the image of modern Thailand. |
