摘要
這篇論文探討的是越裔美籍影像工作者鄭明河(Trinh T. Minh-ha)在其<<姓越名南>>(Surname Viet Given Name Nam)與<<愛的故事>>(A Tale of Love)中變遷的文化認同政治。我檢視鄭如何質疑官方歷史中「客觀論述」的正當性。鄭明河並非單單取決於「再現」抑或是「代表」越南人的聲音，而是由這些聲音尋求文化認同上新的解釋，或是新的方向。於此，我發現離散論述有相當性的幫助。

本論文分為四章。第一章回顧了目前針對鄭明河影像作品的相關論述。批評者大致上認為，鄭的作品提供了不被傾聽的越南女性挑戰男性霸權的歷史(Kracki 54; Nam 82)。然而，其中亦有對於鄭作品的質疑：他們認為在鄭的影片中，「東方」並未成為成功成為與世界溝通的對話者，而是成為另一個沉默他者的例證(Desmond 155; Wide Angle 113)。我在第二章中即討論到，這些批評家或是學者忽視了鄭影片中離散族群中的越南女性議題，而此議題將不僅僅提供沉默他者的臉孔，而是呈現「東方」更明確地站在鏡頭前，展現他們的聲音，以及他們對於家鄉新的詮釋。

第二章將集中討論鄭明河於運用<<姓越名南>>質疑記錄片所代表的真實性。 傳統上說來，越南總僅僅被提及南北之間的對立衝突。然而，在<<姓越名南>>中，鄭並置了三種越南話各自不同的腔調(北中南)以及三種英文的腔調來象徵越南人民所面對是更加複雜的情境。不過，我們依舊必須質問：在本片裡，鄭是依照什麼樣的準則挑選這些歷史史料？並且，根據史匹娃克(Spivak)，越南底層女性能說話嗎？如果能，這些聲音將以何種方式被聽到？如果不能，那麼鄭為何嘗試代表(represent)或是再現(re-present)它們？並且，為何鄭選擇越南女性移民呈現這些本地越南女性所遭受的雙重壓迫？這些離散的經驗要怎樣影響並且改變歷史的意義？這些問題皆與第三章所探討的影片<<愛的故事>>有關。

第三章進一步探討第二章延伸出的議題。在<<愛的故事>>中，鄭明河指出越南離散族群的認同問題，以及歷史本身的不穩定性。鄭改變了越南史詩<<Kieu的故事>>(The Tale of Kieu)的時空設定，將場景從古代越南脫換至當代美國，並藉此闡述離散女性即使身處於「自由的西方」，他們面臨雙重剝削的情況依舊存在。我檢視了鄭明河如何翻新<<Kieu的故事>>，賦予新的詮釋與意義，以及原詩作中傳統歷史意義如何自<<愛的故事>>產生改變。

第四章為本論文的結論。經由檢視鄭明河的文本結構來模糊離散族群試圖維持的種族純粹性，本論文認為鄭嘗試藉由「看回去」來抵抗西方眼光的凝視。然而，這樣的「看」要如何運作？這個「看回去」的策略要如何抵抗第一世界的掌控？這些問題都在這最後一章提起之。

Abstract
This thesis discusses Trinh T. Minh-ha’s politics of cultural identities in her Surname Viet Given Name Nam (1989) and A Tale of Love (1995). I examine how Trinh problematizes the “objectivity” claims in relation to official historical discourses. In this reason, I find diaspora studies helpful in illustrating how Trinh searches new interpretation— rather than re-presentation— of Vietnamese cultural identities.
The thesis is in four chapters. Chapter 1 reviews current scholarships in relation to Trinh’s films. Critics loosely argue that Trinh provides unheard histories of Vietnamese women to challenge the hegemony (Kracki 54; Nam 82). However, there are also suspicions that the East is still not an interlocutor but a silent other in Trinh’s films (Desmond 155; Wide Angle 113). These critics or scholars pay less attention on the issue of subaltern Vietnamese women in diaspora, which will be discussed in Chapter two.
Chapter 2 will focus on Trinh’s strategy of breaking the authenticity in Surname Viet. Traditionally Vietnam is mentioned in terms of the dual conflict between North and South. However, in Surname Viet, Trinh puts three different Vietnamese accents along with three English accents to illustrate a much more complicated situation of Vietnamese people. However, we need to ask: in selecting historical materials, what are the criteria and principles of significant truth? And, to follow up on Spivak, can the Vietnamese women subaltern speak? If they can, in what way can these voices be heard? If not, why did Trinh try to represent or re-present them? Furthermore, why did Trinh choose Vietnamese immigrants to perform these interviews that suffer from double movement and displacement? Besides, why are they translated from French to English? Why not in Vietnamese? How do these diasporic experiences influence and change the meaning of history? These questions will relate to the film A Tale of Love in Chapter three.
Chapter 3 further explores the discussion in Chapter 2. In A Tale of Love, Trinh points out the diasporic Vietnamese’s identities, and the unstable characteristics of histories. In A Tale of Love (1995), Trinh changes the setting of the national epic poem The Tale of Kieu from traditional Vietnam into the present the United States to illustrate the double exploitation that the diaspora women have encounter even if they situate themselves in the “free West.” I examine what meanings and interpretations Trinh brings out from the film, and how traditional historical meanings in this poem change.
Chapter 4 offers my conclusion. By examining Trinh’s textual structure to blur the boundaries that the diasporas maintain to keep their racial purity, the thesis will argue that Trinh try to resist the Western gaze by returning it. However, how does this gaze work? In what way does it return the gaze from the First World to resist its domination? These questions will be raised in my last chapter.

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