當中國成為南方：十七年電影中的少數民族與全球南方論述形構

How and since when has China become part of the South? To address the question, this essay firstly teases out the discursive formation of the Global South in the second half of the twentieth century, and analyzes how the People's Republic of China has positioned itself as part of the South by partaking in such conceptual construction. By looking at the filmic representation of ethnic minorities of Southwest China in the three films produced during the Seventeen Years period (1949-1966)-Five Golden Flowers (dir. Wang Jiayi, 1959), Menglongsha Village (dir. Wang Ping and Yuan Xian, 1960), and Daji and Her Fathers (dir. Wang Jiayi, 1961)-this paper further investigates the way in which China places itself in the spectrum of the Third World and later the Global South through filmmaking, particularly via these films' exhibition of ethnic minorities. By examining the way in which China exhibited itself as the South, not only are we able to fully reflect on the complicated and ambiguous relationship that China established with the South, but also critically intervene in the Global South as an academic paradigm.