| 摘要: | 《茶金》為一部客語電視劇，依據《茶金歲月》一書描述姜家與北埔茶產發 展而重新創作的作品。本劇全程使用海陸腔客語，融入新竹北埔當地的客家文化 特色，講述張家在當地經營茶產業，帶領茶農將臺灣茶走向全世界，過程中從經 歷繁榮的茶虎世代至生意蕭條的茶土時代，從極具聲望的日光公司社長至最後宣 告事業破產，這一路歷經國民政府新政策的影響、外匯貿易的困難，張家社長與 女兒一起面對困難並逐一克服的故事。本劇的場景為 1950 年代的新埔客家社會， 創作者描述當時社會文化中的招贅婚、男女婚約跟家系傳承的關係、客家女性在 家族/宗族內部與外部能展性所受到的限制，劇情更帶入 1950 年代因戰爭離散至 臺灣的外省族群，不論是軍官、女性都因此需在臺灣生活，面對顛沛流離的心境， 需透過何種方式得以緬懷國族情懷。最後再將重點放回客家女性在現實生活與被 創造出來的虛構世界中，得以作為與不得以作為之差別。
此研究將透過電視劇《茶金》來討論客家宗族與性別之關係、國族與族群之 性別交織之分析。藉由當中幾位主要人物的角色設定，分別探討客家宗族之於客 家女性/男性的影響力、客家女性在劇中與現實的相同年代中的能展性之差別何 在、以及戰爭後的政治經濟與國族及族群的性別交織關係。發現客家宗族在現代 逐漸式微，與宗族相應之性別秩序隨之改變，但客家社會文化與宗族發展關係依 舊緊密。創作者則透過《茶金》將身在 1950 年代的客家女性現代化，將現代之 客家女性狀似穿越時空至茶金世代裡，改寫當時劇中人(男性亦同)可能的行動， 使其展現出在當時年代所看不到的女性行動力量。 關鍵詞:《茶金》、客家女性、客家宗族、性別、國族;Gold leaf is an adapted television series based on the novel of The Days of Golden Leaves. This historical drama uses Hailu Hakka language, featuring the Hakka culture of Beipu, Hsinchu. It illustrates the family of Chang who operated a tea business and spread Taiwanese tea from the local area to the whole world. They experienced the prosperity of tea trading in a golden era till the recession of tea trading in a dark age. Several factors influenced the renowned company, including new policies of the Nanjing national government and difficulties in international trade. Yet, the chief of the company and his daughter have overcome these obstacles together.
The kinship of Hakka community in 1950s is consist of matrilocal residents, married couples and family inheritance of Hakka lineage. The film director demonstrates Hakka lineage not only had a significant impact on gender roles in the Hakka community, but also defined the behavior of Hakka females within and outside the family/clan. Furthermore, the plot reveals the retreat of Chinese people from mainland China after losing the Chinese Civil War in the 1950s. People in Taiwan had a hard time, either the displacement reminded the military of patriotism or the challenges Hakka females faced. Eventually, the director emphasizes the hardship of Hakka females′ livelihood and the decisions they made at the end of the story.
Despite that the kinship of Hakka fades away in modern society, Hakka females have no longer limited by the clan system. However, Hakka culture still depends on the clan system nowadays. In order to elaborate on feminism in the 1950s, director of Gold
II
leaf empowers the Hakka females by modernizing them in that time and makes a modern Hakka female time traveling back to that period.
In this study, we analyze the relationship between the clan system of Hakka and the gender roles, along with the correlation between ethnic groups and the gender roles in the television series, Gold leaf. Through the role setting of several main characters, discussions contain: (a) the influences of the Hakka community on gender roles; (b) the differences between Hakka females in play and in reality; (c) the impacts on economic policy in the post-war era and (d) the relationship between ethnic groups and the gender roles. Taken together, we hope to gain further insight into Taiwanese Hakka culture.
Keywords: Gold leaf, Hakka women, Hakka lineage, gender, nation |
