| Summary: | 碩士 === 國立臺北教育大學 === 藝術與造形設計學系碩士班 === 102 === This study mainly focuses on the discussion of the Taiwanese contemporary artist Shur-tzy Hou’s video and photography work Song of Asian Foreign Brides in Taiwan (2005-2009), in which the emotional changes of interviewed foreign spouses in four years have been observed and recorded. In this study, Chapter 1 is the introduction, and Chapter 2 explores Hou’s life and the context of her creative works. From the context of her works, it can be observed that there are two main directions: one is discriminating the relationship between women’s bodies and the society from the perspective of feminism, and the other one is disclosing the problems of disadvantaged groups through her works, which is also the main direction of concern of Hou’s works in recent years—the issues of foreign spouses and the conservation of Zuoying Military Dependent Villages.
In Chapter 3, the causes of transnational marriages between Taiwanese men and Southeast Asian women are discussed, and the filming subjects, the forms of presentation and display, and the themes and intentions of Song of Asian Foreign Brides in Taiwan are taken into a deeper investigation and analysis. Based on the postcolonial critic Gayatri C. Spivak’s theory of subaltern and Bracha L. Ettinger’s exploration of shared affect and emergent expression, this study intends to conduct a reflection on the essential meaning of “intersubjectivity” between Hou’s works and others. Mediated by the artist, those marginalized others enters the field of Song of Asian Foreign Brides in Taiwan through text and images, telling viewers about their experiences and feelings after coming to Taiwan. Although the differences in the society might not be eliminated, under Hou’s leading, viewers could take a serious look at the problems caused by the cross-border movement, and the others have been given the opportunity to re-express themselves.
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