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|Title:||《刺青》的女同志性别操演与情欲 = Lesbian gender perfomativity and desire in “Spider Lilies”||Authors:||平山美贵 Hirayama, Miki||Keywords:||DRNTU::Humanities::Literature||Issue Date:||2014||Abstract:||台湾在80年代末90年代初开始陆续出现同志题材的电影，虽然台湾影坛相继推出女同志电影，但女同志的能见度比男同志更隐匿，特别是电影方面。电影能够引起观众的共鸣，通过女同志电影来叙事女同志的故事，能让观众进而了解女同志的生活和议题，进而打破长久以来对女同志的主观偏见。父权社会下的同志是隐匿的一群，无法发出声音，而女同志更是比男同志还隐匿。女同志长期以来一直被刻板印象化，被误认为“去性欲化”或者是“过度性欲化”。父权社会建构的强迫异性恋机制，加上无论是在家庭、伦理、文化和教育等的潜移默化之下，强迫异性恋机制无所不在，造成对同志不友善的污名。本文将通过《刺青》里女同志的无身份认同冲突的展现，以颠覆社会所建构的性别二元对立。本文将借用女同志女性主义等理论以及电影相关的理论来研究周美玲导演的《刺青》，探讨女同志之间的情欲和女同志的性别操演，借此解构性别二元对立，表现女同志情欲的多元性。此外，通过“女同志连续体”来研究《刺青》里的女同志情谊，以及女性之间的情谊，扩大讨论女同志情欲的各种可能性，及颠覆强迫异性恋机制。本文将结合周美玲自身的出柜策略来研究《刺青》里是否存在着“衣柜”，探讨女同志的现身策略。In the late eighties, queer movies have been starting to surface in the Taiwan movie industry. Despite the prevalence of queer movies, lesbians’ visibility is still lower than gays, especially in the movie industry. Movies are able to connect people and through lesbian films, the public as the audience are able to grasp a deeper understanding of the life and problems a lesbian has to face each day. Through deeper understanding of lesbians, we are able to break away from the stereotype of lesbian image and the prejudices against them. The LGBT (Lesbian Gay Bisexual Transgender) is invisible in our patriarchal society, they are not able to voice out for themselves, and lesbians’ visibility is way lower than gays, resulting in a stereotype. Lesbians have been stereotyped as either “lack sexualized” or “over-sexualized” over a long time. In this patriarchal society, and under the influence of family values, ethics, culture and education etc, compulsory heterosexuality is everywhere and thus causing stigma to the LGBT community. Thus, this paper aims to analyse the images of Little Green (小绿) and Bamboo (竹子) in Zero Chou’s Spider Lilies, and through their absence of lesbian identity crisis, to subvert the construction of heterosexuality in this patriarchal society. This paper aims to analyze Spider Lilies through lesbian-feminism theories and movie-related theories, to conduct an in-depth discussion of lesbian desire and gender performativity, thus deconstructing compulsory heterosexuality and display the wide range of lesbian desires. Through the concept of “lesbian continuum”, this paper aims to discuss the women-identified experience and lesbian existence, to broaden the range of discussion of all the possibilities of lesbian desires. Lastly, this paper also aims to combine Zero Chou’s and movie Spider Lilies’ coming out strategies, to discuss the existence of closet in the movie, and the coming out approaches in which lesbians will undertake.||URI:||http://hdl.handle.net/10356/55648||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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