本論文探討跨亞際電影中再現的全球資本主義與跨境遷移勞動的相關性。研究聚焦的六部電影作品背景分別設於新加坡、香港與南韓，每個國家或地區各選取兩部，透過細讀且比較性的文本分析，揭示其背後所承載的社會文化與歷史脈絡。隨著電影分析的需要，我亦將論述延伸至中國、馬來西亞與沙烏地阿拉伯等其他亞洲國家，進一步勾勒出全球資本主義在亞洲的近/現況，特別是在美國主導下的資本體系，如何深刻影響跨國遷移的勞動條件與身分認同。本研究聚焦於親密性、性／別化剝削與勞動者如何被商品化等主題，並探討這些主體在跨國資本流動與僵化社會政治結構之間的掙扎與抵抗。

第一章聚焦於新加坡在《爸媽不在家》(2013)和《熱帶雨》(2019)中的全球資本主義中心形象，分析了移民照顧者與其服務家庭之間的親密關係。在我的閱讀中，此兩部電影強調了種族、性／別與經濟階層交織在塑造跨國勞動關係中的作用。

第二章分析了《榴槤飄飄》（2000）和《香港有個荷里活》（2001）呈現的中國內地妓女(北姑)來港前後的身份認同及心境變動。探討了他們在跨域遷移和資本主義轉型中的流動社會角色。我分析電影如何透過空間對比批判經濟不平等和香港回歸中國後的城市政策，同時揭露中國資本主義發展和文化失落的矛盾。

第三章通過分析《蒼白戰爭》(1992)和《我只是個計程車司機》(2017)，將韓國的歷史進程與全球資本主義進行對比，呈現了冷戰脈絡下從韓國對外輸出的勞工和士兵受到的剝削，揭示了其經濟現代化的代價及對美國帝國主義的服膺。

本論文引介諸多跨學科理論為批判視角，認為這些電影不僅記錄了遷移勞動者的掙扎，更積極批判了維繫其邊緣化的社會經濟結構。這項研究有助於當前有關勞工移民、性別壓迫和東亞媒體中再現資本主義的討論，並強調經濟全球化與個人和政治主體性的糾纏。

This thesis explores how Inter-Asian cinema represents the intersection of global capitalism and cross-border migrant working. Focusing on six films set in Singapore, Hong Kong, and South Korea—two from each location—it conducts a close and comparative analysis to uncover the socio-cultural and historical contexts embedded in these cinematic narratives. Through analyzing the films, the discussion also extends to other Asian countries such as China, Malaysia, and Saudi Arabia. Central to this study is the influence of global capitalism in Asia, particularly under U.S. hegemony, which shapes the labor conditions and identities of migrant workers across national borders. This thesis highlights the themes of intimacy, gendered exploitation, and the commodification of migrant bodies, as well as the complex struggles of these individuals within rigid socio-political systems in an era of transnational capital flows.

Chapter One focuses on Singapore’s portrayal as a global capitalist hub in Ilo Ilo (2013) and Wet Season (2019), examining the intimate relationships between migrant caregivers and the families they serve. In my reading, these films underscore the intersection of race, gender, and economic hierarchy in shaping transnational labor dynamics.

Chapter Two analyzes the shifting identity and mindset of mainland Chinese prostitutes in Hong Kong in Durian Durian (2000) and Hollywood Hong Kong (2001). It explores their fluid social roles amid transregional migration and capitalist transformation. Through spatial contrasts, I analyze how the films critique economic inequalities and post-handover Hong Kong’s urban policies, while exposing the contradictions in China’s capitalist development and cultural loss.

Chapter Three juxtaposes South Korea’s historical trajectory with global capitalism by analyzing White Badge (1992) and A Taxi Driver (2017). These films depict the exploitation of laborers and soldiers exported South Korea under cold war context, revealing the costs of economic modernization its adherence to US imperialism.

Through a critical lens informed by interdisciplinary theories, this thesis argues that these films do not merely document the struggles of migrant workers but actively critique the socio-economic structures that sustain their marginalization. The research contributes to ongoing discussions on labor migration, gendered oppression, and the representation of capitalism in Inter-Asian media, emphasizing the entanglement of economic globalization with personal and political subjectivities.

A. Films:

Ilo Ilo (爸媽不在家). Dir. By Anthony Chen(陳哲藝), Fisheye Pictures, 2013.

Wet Season (熱帶雨). Dir. By Anthony Chen, Giraffe Pictures, 2019.

Durian Durian(榴槤飄飄). Dir. By Fruit Chan(陳果), Nicetop Independent Ltd., 2000.

Hollywood Hong Kong(香港有個荷里活). Dir. By Fruit Chan, Nicetop Independent Ltd., 2001.

White Badge. Dir. by Ji-Young Chung, CA: Vanguard Cinema, 1992.

A Taxi Driver. Dir. by Jang Hoon, Showbox Co., Ltd., 2017.

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