Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/97703
標題: 雲翔兩部早期電影中的酷兒陽剛與酷兒男體
Queering Masculinities and the Male Body in Two of Scud's Early Films
作者: 連子毅
Tzu-yi Lien
關鍵字: Foucault;自我的技術;酷兒;男子氣概;男體;雲翔;Foucault;Technologies of the Self;Queer;Masculinity;Male body;Scud
引用: Barry, Peter. Beginning Theory. UK: Manchester UP, 2009. Print. Bataille, Georges. L'Érotisme [情色論]. TW: Linking Publishing. 2012. Print. Coakley, Jay. Sports in Society: Issues and Controversies. Ed. 11. NY: McGraw Hill Education, 2015. Print. Connel, R. W. Masculinities. Australia: Polity Press. 1995. Print. Clatterbaugh, Kenneth. Comtemporary Perspectives on Masculinity [男子氣概的當代觀點]. Translated by 劉建台, 林宗德. Taipei, Tw: 女書文化, 2003. Print. Foucault, Michel. 'About the Beginning of the Hermeneutics of Self'. Political Theory. May 1993. vol. 21, no. 2, pp. 198-227. JSTOR. www.jstor.org/stable/191814?seq=1#page_scan_tab_contents. Accessed 21 Oct. 2016. ---. The Care of Self: Volume 3 of The History of Sexuality. NY: Pantheon Books, 1986. Print. ---. Courage of Truth (Lectures at Collége de France). Palgrave MacMillan., 24 May 2011. Print. ---. Discipline and Punish. Vintage Books, 25 April 1995. Print. ---. History of Sexuality. NY: Pantheon Books, 1978. Print. ---. 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'Homosexuality and Queer Aesthetics'. Companion to Chinese Cinema. UK: Blackwell Publishing. 2012. Print. MacKinnon, Kenneth. Representing Men: Manliness and Masculinity in the Media. Bloomsbury Academic, 2003. Print. Markula, Pirkko and Richard Pringle. Foucalt, Sport and Exercise: Power, Knowledge and Transforming the Self. Routledge, 2006. Print. Martin, Luther H., Huck Gutman and Patrick H. Hutton. Ed. Technologies of the Self: Seminar with Michel Foucault. University of Massachusetts Press, 1988. Print. Pang, Laikwan and Day Wong. Ed. Masculinities and Hong Kong Cinema. HKUP, 2005. Print. Pope, Harrison G., Katharine A. Phillips and Roberto Olivardia. Adonis Complex [猛男情節:男性的美麗與哀傷]. Translated by但唐謨. Tw: 性林文化. 2001. Rabinow, Paul. Ed. Foucault Reader. Pantheon, 12 Nov. 1984. Print. Sedgwick, Eve. Epistemology of Closet. University of California Press, 1990. Print. ---. 'Between Men'. Gender Studies, Gay/ Lesbian Studies, Queer Theory. n.d. pp. 696-712. thowe.pbworks.com/f/sedgwick.between.men0001.pdf. Accessed 30 March 2017. Stwell, Branson. 'Cinema and the Unconscious: Filmic Representations of Dreams.' Undergraduate Thesis Honors, no. 766, 2015, pp. 1-54. https://scholar.colorado.edu/honr_theses/766. Accessed 20 Oct. 2017. Ueno, Chizuko [上野千賀子]. Misogyny [厭女:日本的女性嫌惡]. Translated by 楊士堤. Tw: 聯合文學, 2015. Print. Zhang, Yingjin [張英進] Ed. Companion to Chinese Cinema. Wiley-Blackwell, 2012. Print. 499-534. Zoran Lee Pecic. New Queer Sinophone Cinema: Local Histories, Transnational Connections. Palgrave Macmillan, 21 May 2016. Print. Filmography Celluloid Closet. Dir. Rob Epstein and Jeffrey Friedman. Sony Picture Classics, 1996, film. Eternal Summer [盛夏光年]. Dir. Chen, Chung-dua [陳正道]. 3 Dots Entertainments, 2004. Film. Formula 17 [17歲的天空]. Dir. Chen, Yin-jung [陳映蓉]. 3 Dots Entertainments, 2004. Film. Pair of Love [雙]. Dir. Chung, Kai-jie [張凱傑] and Li, Rui-nong [李瑞儂]. Syou Lian [笑蓮影像工作室], 2010. Film. Scud. [雲翔]. Dir. Amphetamine [安非他命]. Artwalker Production [藝行者], 2010. Film. ---. City Without Baseball [無野之城]. Artwalker Production [藝行者], 2008. Film. ---. Love Actually…Sucks! [愛很爛]. Artwalker Production [藝行者], 2011. Film. ---. Permanent Residence [永久居留]. Artwalker Production [藝行者], 2009. Film. Yeh, Tiann-lun [葉天倫]. Dir. Twa-Tiu-Tiann [大稻埕]. Green Film Production. 2014. Film. Non-academic References 'Amphetamine Making of' [電影《安非他命》拍攝花絮]. YouTube, 12 March 2010, https://www.youtube.com/watch?v=200xpOfxUJU. Accessed 11 Nov. 2017. Atmovie [開眼電影網]. 'Amphetamine [安非他命演職員介紹], nd, par, http://app2.atmovies.com.tw/film/extend/fahk4160378901/. Accessed 20 Oct. 2017. Chueng, Jing-man [張錦滿]. 'Permanent Residence: Exploring Death, Expressing Love, Family Affection and to the Point [《永久居留》:探討死亡表達愛情、親情又深刻到肉]'. Atchinese, 4 May 2009, par, archive.fo/3z6A. Accessed 1 Oct 2017. France-Presse, Agence. 'Leslie Cheung, 46, Pop Singer And Film Actor in Gay Roles'. New York Times, 2 April 2003, par, www.nytimes.com/2003/04/02/arts/leslie-cheung-46-pop-singer-and-film-actor-in-gay-roles.html?mcubz=0. Accessed 1 Oct. 2017. Kacirie [卡西里污影G散廠]. 'Amphetamine Movie Review #20170306'. YouTube, 10 June 2017, www.youtube.com/watch?v=PkMCGD4aRkQ. Accessed 1 Oct. 2017. ---. 'Blue Gate Crossing Movie Review #20170109'. YouTube, 7 March 2017, www.youtube.com/watch?v=CPvjBUJUltg. Accessed 1 Oct. 2017. ---. 'Carol Movie Review #20160229'. YouTube, 7 March 2017, www.youtube.com/watch?v=4xKugmrnSqY. Accessed 1 Oct. 2017. ---. 'City Without Baseball Movie Review #20170221'. YouTube, 26 March 2017, www.youtube.com/watch?v=qGR5YiATPqY. Accessed 1 Oct. 2017. ---. 'The Danish Girl Movie Review #20160308'. YouTube, 7 March 2017, www.youtube.com/watch?v=krW-TgXAunk. Accessed 1 Oct. 2017. ---. 'Love Actually Sucks Movie Review #20170224'. YouTube, 2 April 2017, www.youtube.com/watch?v=0OcyhDYDkro. Accessed 1 Oct. 2017. ---. 'Moonlight Movie Review #20170212'. YouTube, 7 March 2017, www.youtube.com/watch?v=zjL2wSkyHbU. Accessed 1 Oct. 2017. ---. 'Naked Nation Movie Review #170406'. YouTube, 22 Sep. 2017, www.youtube.com/watch?v=7-ajJDfCsg. Accessed 1 Oct. 2017. ---. 'Permanent Residence Movie Review #20170218' YouTube, 26 March 2017, www.youtube.com/watch?v=CF9md3E_Gsw. Accessed 1 Oct. 2017. ---. 'Room in Rome Movie Review #20160524'. YouTube, 7 March 2017, www.youtube.com/watch?v=R9ByxMKai6k. Accessed 1 Oct. 2017. ---. 'Small Talk Movie Review #20170324'. YouTube, 20 June 2017, www.youtube.com/watch?v=zQ72ReVUnOA. Accessed 1 Oct. 2017. ---. 'Utopians Movie Review #20170315'. YouTube, 18 June 2017, www.youtube.com/watch?v=OqgebbdNG8A. Accessed 1 Oct. 2017. ---. 'Voyage Movie Review #20170312'. YouTube, 11 June 2017, www.youtube.com/watch?v=WpI6ig-C8-w. Accessed 1 Oct. 2017. MTimes. 'The Deadly Duo—the Sexy Ti Lung, the Vague Warriors [《双侠》——性感的狄龙,暧昧的双侠]'. 25 June 2011, par. http://group.mtime.com/tilung/discussion/1508190/, Accessed 22 May 2018. Neumann, Drew. 'Homonormativity'. Prezi, 2 May 2013, 1-39, prezi.com/xmlkc_8dgmav/homonormativity/. Accessed 30 March 2017. Robson, David. 'History Lesson in Bodybuilding'. Bodybuilding.com, 19 Nov. 2014, par, www.bodybuilding.com/fun/drobson61.htm. Accessed 21 April 2017. Signal, Jesse. 'Phenomenon of 'Bud Sex' Between Straight Rural Men'. Science of Us, 18 Dec. 2016, par, nymag.com/scienceofus/2016/12/why-straight-rural-men-have-gay-bud-sex-with-each-other.html?mid=facebook_nymag. Accessed 21 April 2017. Wu, Shia [武俠]. 'Scud: Die, and Permanent Residence [雲翔 死後,便可永久居留]'. Wenweipo [文匯報], 28 April 2009, par, paper.wenweipo.com/2009/04/28/FA0904280001.htm. Accessed 1 Oct. 2017. ---. 'Scud: Isn't this his Fate? [雲翔 安非他命?].' Wenweipo [文匯報], 6 April 2010, par, http://paper.wenweipo.com/2010/04/06/OT1004060001.htm. Accessed 1 Oct. 2017.
摘要: 
本論文著眼於香港電影對於男子氣概以及(精實)男體的影像呈現,立基於Foucault 自我的技術的哲學觀點用以角色分析。考量到「性別是個經常牽涉到身體以及身體所為的社會實踐」(Connell,17),我投注了很多關切在身體之於多樣且多變的男子氣概。我特別將肌肉納入考量是因為最為陽剛的一種活動——健美,越來越主流且有影響力,多虧了二十世紀初的Eugene Sandow (Markula 與 Pringle,81)還有爾後80年代的Hollywood產業,諸如Arnold Schwarzenegger 還有Sylverster Stallone 這種專業的健美選手在大銀幕上具有全球知名度(Robinson,2014)。只不過肌肉發達的肉體在所選的片中——永久居留(2009)以及安非他命(2010)並不符合上述兩者。因此以一個更寬廣的角度來看,雲翔酷兒呈現的矯健男體,而不單是肌肉,在特定的香港社會情境——2008年的經融海嘯,將會是主要焦點。
本研究法聚焦在自我的技術用以分析個別片中同志主角的非自我等同的轉變——Ivan 以及 Kafka:Foucault 對於三個不同時期的系譜分析(1988,1993),接著Lynne Huffer 的「情色倫理實踐」(2009),還有Markula 與 Pringle 對於自我的技術在運動情境的應用(2006)。另一方面,文本分析牽涉運動社會學以及電影呈現的男子氣概的理解。基本背景建立在Raewyn Connell 的男子氣概研究(1995)與Jay Coakley 對於性別與運動的社會學研究(2015)。特別是Markula 與Pringle ,不僅涵蓋了Foucault 性別與運動員身份的論述建構,還檢驗了運動情境中自我的技術(2006)。最後,Laikwan Pang 彭麗娟與Travis Kong 江紹祺介紹了香港電影的男子氣概清楚的歷史淵源。Helen Leung Hok-sze 梁學思(2012)與 Zoran Lee Pecic (2016)將注目帶到這位天賦異稟的酷兒導演,雲翔,基於新酷兒電影的酷兒美學。簡而言之,我主張Ivan 與 Kafka 的身份透過情色倫理實踐與他們的陽剛夥伴建立於陽剛實踐,之中他們酷兒影像所呈現的男體對於異性戀常規與同性戀常規大膽、叛逆、不妥協。

This thesis is dedicated to the cinematic representation of masculinities and the (lean-muscular) male body in Hong Kong cinema, with the character analysis based on the philosophical understanding of Foucault's technologies of the self. I put much attention to the body in terms of various changing masculinities, concerning the fact that 'Gender is social practice that constantly refers to bodies and what bodies do, it is not social practice reduced to the body' (Connell, 71). I take muscularity into account in particular because one of the most masculine activities—bodybuilding, has become increasingly influential and dominant, thanks to Eugen Sandow in early 20th century (Markula and Pringle, 81) and later the Hollywood industry in 1980s, in which professional bodybuilders such as Arnold Schwarzenegger and Sylvester Stallone have become globally popular on screen (Robinson, 2014). Yet the muscular body represented in the films chosen—Permanent Residence (2009) and Amphetamine (2010) does not resemble neither of the two. Therefore from a larger picture, instead of muscularity, the athletic male bodies of Scud's queer cinematic representation in specific social context of Hong Kong—the economic tsunami, 2008, will be the main focus.
The approach of the research is aimed at technologies of the self in order to analyze the non-self-identical transformation of the gay protagonists in each film—Ivan and Kafka: Foucault's genealogical analysis over three different period (1988, 1993), following Lynne Huffer's 'ethical erotic practices' (2009), and the application of technologies of the self in sports context by Pringle and Markula (2006). The textual study, on the other hand, involves sociology of sports, and understanding for the cinematic representation of masculinities. The general background is based on Raewyn Connell's research—Masculinities (1995) and Jay Coakely's sociological analysis of gender and sports (2015). Markula and Pringle, in particular, have not only included Foucault's the discursive construction of gendered and athletic identities but also examined the theory of technologies of the self in the context of sports (2006). Finally, Laikwan Pang and Travis Kong have provided clear historical linage of representations for both masculinities and homosexuality in Hong Kong cinema (2005). Helen Leung Hok-sze (2012) and Zoran Lee Pecic (2016) have brought attention to this very talented queer auteur, Scud, based on the queer aesthetics of new queer cinema. In short, I argue that the identities of Ivan and Kafka is built upon masculine practices with their masculine counterparts via ethical erotic practices, in which the queer cinematic representation of their bodies is bold, unapologetic and defiant to both heteronormativity and homonormativity.
URI: http://hdl.handle.net/11455/97703
Rights: 同意授權瀏覽/列印電子全文服務,2018-08-30起公開。
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