本篇論文旨在研究二十世紀初期的日本照片新娘。雖然自一九七零年代起，歷史學家及社會學家就開始關注照片新娘的歷史，而日本照片新娘的生命經驗亦呈現於許多日裔美國文學作品中，但是，照片新娘和其日本祖國間的關係卻一直未得到學界應有的重視。本論文透過探討琳達·奧哈瑪（Linda Ohama）的家庭紀錄片《祖母的花園》（Obaachan’s Garden）以及真壁知子（Tomoko Makabe）的口述歷史著作《照片新娘：加拿大的日本女性》（Picture Brides: Japanese Women in Canada），意圖呈現日本照片新娘在日本及日美跨太平洋歷史進程中的重要性。
本論文分為四章。第一章為緒論，簡述照片新娘歷史並闡明在當前照片新娘研究中，照片新娘的日本經驗和日本回憶研究之不足。第二章探討紀錄片《祖母的花園》中照片新娘及其後裔透過不同方式再/建構他們和日本的聯繫。我特別關注此紀錄片中所呈現的日本意象如何展示個人經驗、家庭記憶、族裔歷史以及日本國家歷史間相互交織的關係。第三章則閱讀《照片新娘：加拿大的日本女性》中五位照片新娘的口述歷史。我論述真壁知子如何從一個新移民的角度強調照片新娘在日本史以及日本加拿大移民史中的重要性，並主張日本照片新娘跨國經驗可以幫助我們了解二十世紀初期的日本文化以及區域發展。第四章總結此論文，並思考相關議題未來研究的方向。

This thesis conducts a study of Japanese picture brides in the early twentieth century. Although picture bride history has attracted the attention of historians and sociologists since the 1970s, and their life stories are commonly represented in many Japanese North American literary works, picture brides’ affiliations with their country of origin have not yet been fully investigated. In this thesis, through examining Linda Ohama’s family documentary Obaachan’s Garden and Tomoko Makabe’s oral historical project Picture Brides: Japanese Women in Canada, I demonstrate Japanese picture brides’ importance in making the cross-Pacific history of both Japan and Japanese North America.
This thesis is divided into four chapters. Chapter One serves as an introduction, in which I provide an overview of the picture bride history and discuss the inadequate attention given to picture brides’ Japanese experiences and memories in existing scholarship. Chapter Two centers on the different ways picture brides and their offspring re/connect to Japan in Obaachan’s Garden. Attention is given to how the images of Japan presented in the family documentary display the intertwined connections between personal, family, ethnic as well as Japan’s national histories. Chapter Three studies five picture brides’ oral testimonies recorded in Picture Brides: Japanese Women in Canada. I examine how Makabe, from a Shin-Issei’s perspective, emphasizes Japanese picture brides’ significance in both Japanese and Japanese Canadian history. I also point out that picture brides’ transnational experiences could enrich our understanding of the culture and regional developments of Japan in the turn of the twentieth century. Chapter Five concludes this thesis with thoughts for future research.

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