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|Title:||“一生的爱，唯有家” 巫俊锋影片中酷儿化的“家庭” ：“This is home, truly” : queering “Family” in Boo Jun Feng’s film||Authors:||刘思娴 Lau, Si Xian||Keywords:||DRNTU::Humanities||Issue Date:||2016||Abstract:||“家庭”一直是新加坡官方话语中的重复出现的母题，由于其关系到人口及经济，因此在官方的论述下被赋予符合异性恋霸权意识形态的定义。“家庭”在官方论述下被赋予狭义的定义，决定了其结构、作用及重要性，使其富有异性恋色彩的意涵，无法容忍酷儿及包容差异，但这也意味着“家庭”同样有被重新定义的潜能，有被酷儿化的可能性。本文将研究巫俊锋影片中如何以酷儿角度处理“家庭”概念，即是将家庭酷儿化，以酷儿反本质和开放的态度面对和抗争官方（异性恋）“家庭”对酷儿群体的压迫，并反对将官方“家庭”视为恰当的社会单位。酷儿论述支持和探讨各种各样的“家庭”形态，使异性恋者不得不重新面对自己与家庭那看似自然而然的关系，开启对于“家庭”的多元想象。The concept of “Family” has been the recurring motif in Singapore‟s official discourse, as it is closely linked to the country‟s population and economy policies, and most often constructed with a definition that is consistent with heteronormative ideology. The nation‟s discourse narrows and restricts the definition of “Family”, determining its structure, function and significance. As “Family” is imposed with heterosexual meaning, it is intolerant of Queer and of any differences, but this also indicates that it has the potential to be redefined, and to be Queer-ed. This thesis attempts to study the films of local director Boo Jun Feng to understand how he has redefined the concept of “Family” from a Queer perspective, in other words Queering the concept of “Family”, challenging the nation‟s discourse with an open and anti-essentialism attitude of Queer, and opposing the establishment of it as the only appropriate social unit of Singapore. Queer discourse supports different construct of “Family”, causing heterosexuals to rethink the naturalised concept of “Family”, and inspire the imagination of all kinds of “Family”.||URI:||http://hdl.handle.net/10356/66085||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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