| 摘要: | 每個泛自閉症家庭都希望他們的孩子能夠在成年後自立生活，但這需要他們具備基本的生活自理能力，並且有穩定的收入來維持生活。然而，有許多輕度的泛自閉症者即使具備良好的生活自理能力，卻仍在尋求就業時，因為其障礙特質而面臨許多困難。 此外，非障礙手足在成長過程中也必須學習照顧泛自閉症家庭成員，在成年後也可能會被轉移照護責任，甚至成為主要照顧者。這種責任轉移會帶來很大的壓力，對非障礙手足的生活和事業發展產生影響。 本研究選擇了馬來西亞真人真事改編的泛自閉症電影《光》作為研究對象，使用鏡頭分析與符號學來分析，電影中泛自閉症者與非障礙手足面臨哪些壓力。 本研究第一個研究問題，在《光》電影中，再現了哪些ASD角色的特徵、行為模式，以及面臨的就業壓力？經過對《光》電影的分析，確認了電影中呈現的角色特徵和行為模式，符合ASD的定義，包括社交和溝通的缺損，以及侷限、重複的行為、興趣或活動，例如：文光的目光迴避、鸚鵡式仿說、難以理解非直接的語言表現方式、以及缺乏社交互動的興趣和技巧。同時，電影也描繪了ASD的學者症候群，主角文光擁有絕對音感的天賦。 在探討ASD角色在就業方面所面臨的壓力，是從個人因素、環境因素和歷程因素的角度切入。個人因素包含文光的個人信念、就業動機、才能、興趣相符、工作經驗、以及ASD的社交溝通和互動障礙，並表現出侷限、重複的行為、興趣或活動，具有強烈的焦點導向特徵。環境因素包含職場文化、工作內容和工作條件等。歷程因素則分為內在歷程，包含社會化程度、自我決策能力、發展機會等，及外在歷程，包含就業機會、勞動市場、政策福利。 文光在劇中共出現五次工作機會，首先是花店面試，因文光不喜歡花，及此時文光尚無就業動機，很快就失敗。第二次是在夜市洗碗，雖然文光已有就業動機，但仍因個人工作效率差、溝通互動障礙、職場文化不友善、工作內容及條件都不佳，且因文光個人具有強烈的焦點導向特徵，不顧社會秩序的偷了杯子而被開除。第三次是去咖啡廳面試，即使文光特地換了整潔的衣物，但仍因主管對ASD理解不足，認為會接觸人的工作內容不適合ASD，不願意提供就業機會給文光。第四次為在Tony的店當店員，但因為文光在上班途中被玻璃杯B吸引，而忘記去上班，回家之後又與弟弟發生衝突，遂離家出走專心製作水玻璃鋼琴。以上四次工作機會都失敗，並且在面試過程都讓文光承受非常大的壓力及歧視，電影具體呈現文光身為ASD的就業困難。直到第五個工作為鋼琴調音師，不但結合文光的興趣、才能，工作內容也符合ASD對結構化工作流程的喜好，最重要的是職場文化友善，主管願意提供就業機會，對文光也信任，讓他能發揮所長，展現極佳的工作效率。即使文光出差到各個家庭裡去做鋼琴調音，需要面對不同形形色色的客人，他也能夠勝任。導演在此打破社會大眾對ASD的刻板印象，顯示ASD並非不適合接觸人群，而是這個社會是否願意提供機會，並友善接納，讓ASD嘗試做面對人群的工作。 本研究問題二，在《光》電影中，再現了哪些ASD的非障礙手足壓力？弟弟從小就必須幫忙照顧文光，若嘲笑文光就會被母親處罰，時常發生家庭關係衝突，在母親過世之後，弟弟獨自承受照護壓力。同時，他也擔憂自己有潛在的ASD基因，對結婚生子產生疑慮和拒絕，以及因為文光時常做出怪異的舉動，導致弟弟也一起被歧視，產生不同面向的社會關係壓力。加上文光一直到27歲都沒有工作過，經濟支出都是弟弟一肩扛起，弟弟為了方便照護文光，在職業做出犧牲及妥協，只能選擇彈性高，但收入較低且較無前途的工作，使得弟弟經濟壓力的負擔越來越沉重。 研究問題三，在《光》電影中，使用了哪些符號隱喻？筆者認為「光」隱喻著文光自身、弟弟對文光的照顧，以及兄弟未來的希望；「內景空間」隱喻著兄弟情感的隔閡；「墨字」隱喻著文光的內心話；「公車」隱喻著互相尊重的多元文化社會；「遊戲機」隱喻著兄弟情感的聯繫以及非障礙手足的寂寞；「魚」隱喻著文光、弟弟與文光的社交需求；「玻璃」隱喻著隔閡、虛偽、脆弱、美麗及每一個人。 電影《光》透過符號隱喻的運用，成功地讓觀眾對ASD及其家庭面臨的困難有更深入的了解，同時也打破了社會對ASD的刻板印象，告訴大眾ASD不是封閉自我、ASD也需要社交及朋友、ASD並不一定是可憐、ASD是最能自得其樂的、ASD能夠自立、ASD能適合很多種工作、ASD也同樣具有興趣及想法，只要給ASD多一點關懷與支持，其實他們的表現也能很優秀。 導演也希望透過《光》能夠傳達出一個訊息，啟發觀眾思考和反省，期望大家不要將有無障礙的人，區分並隔離為正常或不正常，可視為每個人都有自己的個性，彼此尊重對方，社會將能夠有更多的包容、理解和共融。也盼ASD家庭在面對生活中的挑戰時，能夠採取更樂觀與正向的態度去克服。
Every family with an individual on the autism spectrum hopes that their child can live independently in adulthood. However, this requires them to possess basic self-care abilities and have a stable income to sustain their lives. Nevertheless, many individuals with mild autism, despite having good self-care skills, face difficulties when seeking employment due to their disability traits. Furthermore, siblings without disabilities also need to learn how to care for their family members with autism during their upbringing. In adulthood, they may even assume the responsibility of caregiving, potentially becoming the primary caregivers. This shift in responsibility can create significant stress and impact the lives and career development of non-disabled siblings. For this study, the film “Guang,” based on a true story from Malaysia about autism, was selected as the research subject. Camera analysis and semiotics were employed to examine the pressures faced by individuals with autism and their non-disabled siblings in the film. The first research question of this study examines which ASD character traits, behavioral patterns, and employment pressures are represented in the film “Light.” Through the analysis of the film, it has been identified that the portrayed character traits and behavioral patterns align with the definition of ASD, including social and communication impairments, as well as restricted and repetitive behaviors, interests, or activities. The film also depicts the savant syndrome associated with ASD, with the protagonist, Guang, possessing exceptional absolute pitch. The exploration of the pressures faced by individuals with autism spectrum disorder (ASD) in employment examines personal factors, environmental factors, and developmental factors. Personal factors encompass elements such as the individual's beliefs, employment motivations, talents, alignment of interests, work experience, as well as ASD-related social communication and interaction challenges, characterized by restricted and repetitive behaviors, interests, or activities, and intense focus-oriented traits. Environmental factors include workplace culture, job content, and working conditions, among others. Developmental factors are further divided into intrinsic processes, which encompass socialization levels, self-determination abilities, and developmental opportunities, and extrinsic processes, which involve employment opportunities, labor markets, and policy welfare. In the film, “Guang,” there are five instances of job opportunities for Wen Guang. Firstly, he interviews at a flower shop, but due to his dislike of flowers and his lack of employment motivation at the time, he quickly fails. Secondly, he works as a dishwasher at a night market. Although Wen Guang has the motivation to work, he faces challenges such as personal inefficiency, communication and interaction difficulties, unfriendly workplace culture, and unfavorable job conditions. Additionally, due to Wen Guang's intense focus-oriented traits, he steals a cup disregarding social order, resulting in his dismissal. The third opportunity is an interview at a café. Despite Wen Guang dressing neatly for the occasion, the manager lacks understanding of ASD and believes that jobs involving human interaction are not suitable for individuals with ASD, thus unwilling to provide employment opportunities to Wen Guang. The fourth opportunity is working as a shop assistant at Tony's store. However, on his way to work, Wen Guang becomes distracted by a glass cup (B) and forgets to show up for work. Upon returning home, he has a conflict with his brother and subsequently runs away from home to focus on creating a water glass piano. These four job opportunities all end in failure, and during the interview processes, Wen Guang experiences significant pressure and discrimination, vividly portraying the employment difficulties faced by individuals with ASD. It is not until the fifth job opportunity as a piano tuner, where his interest and talent in piano align with the job requirements, and the structured work process caters to his preferences as an individual with ASD. Most importantly, the workplace culture is friendly, and the supervisor is willing to provide employment opportunities and trust Wen Guang, allowing him to showcase his strengths and achieve excellent work efficiency. Even when Wen Guang travels to various households to tune pianos and interacts with different customers, he is capable of performing his duties. In this portrayal, the director breaks the stereotypical impression society may have of individuals with ASD and demonstrates that ASD is not incompatible with interacting with others. Rather, it depends on whether society is willing to provide opportunities and accept individuals with ASD in a friendly manner, allowing them to attempt jobs that involve engaging with people. Research question 2 focuses on the pressures faced by non-disabled siblings of individuals with ASD as portrayed in the film “Guang.” The younger brother, from a young age, has had to assist in taking care of Wen Guang. If he mocks or ridicules Wen Guang, he will be punished by their mother. Family conflicts frequently arise, and after their mother's passing, the younger brother is left alone to bear the caregiving pressure. Additionally, he worries about having potential ASD genes, which leads to doubts and refusal regarding marriage and having children.Furthermore, due to Wen Guang's eccentric behaviors, the younger brother also faces discrimination and social relationship pressures from different perspectives. Moreover, as Wen Guang remains unemployed until the age of 27, the younger brother shoulders the financial burden. In order to facilitate the care for Wen Guang, the younger brother makes sacrifices and compromises in his career, opting for flexible but low-income and less promising jobs. This increases the economic burden and financial pressure on the younger brother, as he struggles to support both himself and Wen Guang. Research question 3 examines the use of symbolic metaphors in the film “Guang.” The author identifies several metaphors employed in the film:“Guang” symbolizes Wen Guang himself, his care by his younger brother, and their future hopes.“Interior spaces” symbolize the emotional distance and barriers between the brothers.“Ink characters” symbolize the inner thoughts and feelings of Wen Guang.“Bus” symbolizes a diverse and multicultural society that promotes mutual respect.“Video game console” symbolizes the emotional connection between the brothers and the loneliness experienced by the non-disabled sibling.“Fish” symbolizes the social needs of Wen Guang, his younger brother, and their need for social interaction.“Glass” symbolizes barriers, pretense, fragility, beauty, and the experiences of every individual.These symbols are utilized in the film to convey deeper meanings and emotions related to the characters' experiences and relationships. The film “Guang” effectively uses symbolic metaphors to provide viewers with a deeper understanding of ASD and the challenges faced by individuals and their families. It also breaks societal stereotypes by conveying that ASD individuals are not isolated or self-contained, but rather have social needs, friendships, and diverse interests. The film dispels notions of pity and showcases that individuals with ASD can find joy, achieve independence, excel in various occupations, and possess unique interests and perspectives. By offering more care and support, ASD individuals can demonstrate remarkable abilities. The director also hopes that through “Guang,” a message can be conveyed to inspire viewers to contemplate and reflect. The intention is to discourage the labeling and segregation of individuals with and without disabilities as normal or abnormal. Instead, it encourages recognizing that everyone has their own unique personality and promoting mutual respect. By fostering a society that is more inclusive, understanding, and cohesive, the director envisions a greater acceptance of diversity. Furthermore, the film encourages ASD families to approach life's challenges with optimism and a positive mindset, aiming to overcome obstacles effectively. |
