90年代以来台湾电影同志角色的身份认同研究

发布时间：2018-10-30 20:12

【摘要】：台湾电影是华语电影的重要组成部分。在经历过辉煌没落困惑之后，台湾电影在摸索中慢慢前进，近几年连续出现了让人叫好又卖座的作品。纵观台湾电影市场，同志题材电影的兴起与发展是一个值得注意的现象。结合整个台湾社会的历史变迁，民众的国族认同意识，研究同志电影还是颇有意义的。总的来说台湾的电影产业与观众已突破过往对同志题材的排斥抗拒，能尝试接受和认同同志族群，但事实上，同志电影与主流电影的结合，仍停留在萌芽阶段，尚有许多议题层面值得开发。除了男同志、女同志的不同形象书写外，双性恋、酷儿族群等，相对来说依旧缺乏对外发声的管道，依旧停留在边缘、沉默的角落。而对于整个同志族群来说，在父权体制下，身份认同问题可谓是一个困境，从身份认同到族群认同再到社会认同，是一条曲折而艰难的路，但尽管如此，这一族群仍在努力，他们把希望得到理解和认同的诚意置于同志运动抑或是相关影像作品中，将电影作为一个发声渠道，借以让更多人了解这一群体，从而让认同之路少一些荆棘。本篇论文研究重点放在90年代以来台湾电影中同志角色的身份认同问题，用文本分析电影中同志角色自我身份认同的过程，继而通过对这些年此类型电影的梳理，从市场角度来分析社会对这类电影及角色的认同。希望可以对台湾酷儿电影及酷儿族群的身份认同问题具有研究价值及社会意义。论文首先从阐释酷儿理论出发，呈现全球化浪潮对酷儿理论的影响，引出酷儿电影在台湾的发展概况并浅析同志题材电影在台湾的盛行原因。接着以相关电影为例，展现在父权体制这个大的框架下，从对传统家庭观念的认同、解构父权对认同的影响来分析同志角色的自我身份认同之路，而自我认同的过程中又有对性意识启蒙与性别越界的探析。此类电影的市场策略也是本文研究的一部分，在对性别政治和性别意识研究的基础上，整理票房数据和口碑，对一系列酷儿电影进行大致梳理。台湾电影在90年代进入寒冬，多是由作者电影独撑大局，，2000年后，台湾电影还在低潮中挣扎，新一代的电影创作者与叙事方式缓慢出笼，制片与行销也各自在艰难的产业结构里寻找突围之道。酷儿题材电影可谓是一个选择。台湾同志题材电影虽并不完全局限于青春成长题材，但不可讳言，2002年来卖座力与知名度高的电影恰恰就是同志恋情与青春成长相糅合的题材。这的确占据了同志形象的诠释权，亦有其影响力。可是电影里所呈现的同志认同问题也陷入了单一化，同样的故事说了再说，若没有深化叙事层次，复杂化生命经验，电影里的同志角色便会成为定了型的商品，便再无认同可言。因此，如何使此类题材电影主题更为丰富，叙事更为贴近生活，让普通受众通过电影作品更为深层次的感受并接受这一群体以及有兴趣了解他们背后的故事，可能对于实现认同这一目的来说更具有其社会意义。
[Abstract]:The Taiwanese film is an important part of the Chinese film. After a brilliant puzzle, Taiwan's film moved slowly in the sense of fumbling, and in recent years there has been a series of works that let people call and sell. Looking at the film market in Taiwan, the rise and development of gay theme movies is a remarkable phenomenon. In combination with the historical changes of the whole Taiwan society, the people's identity consciousness and the study of the same-minded film are of great significance. In general, Taiwan's film industry and the audience have broken through the past's rejection of Comrade Mao Zedong's subject matter, and can try to accept and agree with the gay community, but in fact, the combination of the same-minded and mainstream films still remains in the bud stage, and there are many issues at the same level. Development. In addition to gay, lesbian, different image writing, bisexual, cool children's ethnic group and so on, relatively still lack of external sounding pipeline, still remain on the edge, silence As for the whole group of comrades, in the patriarchal system, the problem of identity identification is a dilemma, which is a tortuous and difficult road from identity recognition to ethnic identity and social identity. However, this ethnic group is still under the patriarchal system. Try to put the film as a sound channel so that more people understand the group, so as to make it less common to identify and identify the good faith that they want to understand and accept in gay movement or related image works This paper focuses on the identification of the role of comrade in Taiwan's film since 1990 's, analyzes the process of self-identification of comrade's role in the film by text, and then through the analysis of these years Combing the film, analyzing the society from the market angle to this kind of film and Identity of role. Hope to have research value on the identity of cool children's film and cool children's ethnic group. First of all, starting from the theory of cool children, the paper presents the influence of the tide of globalization on the theory of cool children, draws out the development of cool films in Taiwan, and analyses the film of gay subjects in Taiwan. Then, with the related film as an example, in this large framework of the patriarchal system, from the recognition of the traditional family concept, deconstructing the influence of the father's right on the identity to analyze the way of self-identity identification of the comrade's role, and the process of self-identification has the enlightenment and the gender of sexual consciousness. Cross-border analysis. The marketing strategy of such movies is also part of this paper. On the basis of research on gender politics and gender, the box office data and word-of-mouth are sorted out, and a series of cool movies are introduced. Lines are roughly combed. Taiwan's film entered the market in the 90' s, mostly by the author's film doku. After 2000, Taiwan's films struggled with the low tide, and the new generation of film creators and narrative way slowly out of the cage, and the production and marketing were also in difficult industrial ties. Look for the way. Cool on the subject. The shadow is a choice. The Taiwanese film is not entirely confined to the theme of youth growth, but it is impossible to say that in 2002, the film that sold the seat and the popularity is precisely the gay relationship and the youth The subject of the growth phase, which does occupy the interpretation of the image of a comrade. It also has its influence. But the gay identity problem presented in the film has also fallen into a singleness, and the same story said that if the narrative level is not deepened, the experience of life is complicated, and the comrades in the film will become a fixed-type commodity Therefore, how to make the theme of such themes richer and more closely related to life, let the ordinary audience feel more deeply through the film work and accept the group as well as interest The story behind them may be for the purpose of achieving recognition
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J909.2

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