標題: 主體形構,異質空間與新酷兒電影的抵拒美學
Subjectivity Formation, Heterotopia, and the Aesthetics of Resistance of New Queer Cinema
作者: 張靄珠
Chang Ivy I-Chu
交通大學外國語文學系
關鍵字: 酷兒;同志;新酷兒電影;心理分析;性別;文化研究;電影研究;主體;歷史;異質空間;戀物;消費;公路電影;紀錄片;abject;Isaac Julien;ChristopherMunch;Tom Kalin;Gregg Araki;Todd Haynes;queer;tungzhi;gay;lesbian;New Queer Cinema;psychoanalysis;gender;sexuality;cultural studies;cinema studies;subject;history;heterotopia;fetishism;consumer;road movie;documentary;abject;Isaac Julien;Christopher Munch;Tom Kalin;Gregg Ara
公開日期: 2004
摘要: 本研究結合心理分析、酷兒研究與電影研究,探討主體型構、異質空間、與新酷兒 電影(New Queer Cinema)的酷異策略及美學。研究對像包括90 年代初期受人矚目的新 銳同志導演Isaac Julien、Chritopher Munch、Tom Kalin、Gregg Araki、Todd Haynes 及其作品。 新酷兒電影的特色是獨立製作、拼貼、反諷、偏離傳統的人文觀點也偏離認同政治, 叛逆不羈,以酷異游離的美學,挑戰主流道德尺度。本研究將從下面幾個方向進行: 一、探討導演如何揉雜類紀錄片與劇情片、歷史檔案、私密日記等,作為抵拒策略 與美學實驗,讓同志觀點及情慾滲入歷史大論述的框架中,以建構同志抵拒歷 史。 二、援引Foucault 異質空間(heterotopia)之概念,探討電影角色的內在外在活動 空間,並分析異質空間如何象徵性、結構性的展演同志主體棄絕在家國之外, 成為社會邊緣人的過程。這過程混合了越界、愉悅、罪惡,是污名化的所在, 亦蘊含結構反轉之可能。 三、從恥辱踐履的觀點,分析酷兒主體形構與美學實踐之間的弔詭性;並從影像、 觀視、慾望的反思,希望打破傳統觀看主體與被觀看客體之二元劃分,解析電 影角色與觀眾之間變異的認同及情慾能動性。 四、從同志電影的文化符碼及生產模式,探討時尚、認同和戀物消費之間的變異 性,以及消費主體和社會主體的辯證關係。
This research is aimed at utilizing theories of psychoanalysis, queer studies and cinema studies to investigate subject formation, heterotopia, and the aesthetics and politics of New Queer Cinema. The subjects of this research include the directors of New Queer Cinema: Isaac Julien, Christopher Munch, Tom Kalin, Gregg Araki, Todd Haynes, and their films. In addition to literary research and cinema analysis, I will conduct fieldwork to investigate the cultural production of New Queer Cinema. New Queer Cinema emphasizes independent production, pastiche, irony, as well as reworking of history with social constructionism. Definitively breaking with older humanist approaches as well as departing from identity politics, these works are irreverent, energetic, alternatively minimalist and excessive. The objectives of this research are as follows: I. Counter-history and Cross-genre: to investigate how the directors crisscross pseudo-documentary, avant-garde films, official and private archives, fine arts and literature to practice politics and aesthetics of resistance, which makes possible the infiltration of gay perspectives and desire into the frame of grand narrative in order to constitute gay counter-history. II. Heterotopia and Social Abject: to utilize Foucault』s theory of heterotopia to analyze the outer space and inner space of the films so as to analyze how heterotopia symbolically and structurally makes graphic the abjection of gay people to the border of family and nation in service of consolidating the heterosexual normality. The heterotopia makes palpable the site of stigmatization as well as structural subversion of the heteronarmative surveillance. III. Subject Formation, Gaze, and Desire: to investigate the paradoxical relations between queer subject formation and aesthetics from the perspective of shame performativity; to reconsider image, gaze, and desire in order to destabilize binary divide between the viewing subject and the desired object in exploring the dynamics of desire and identity. IV. Gay Cultural Production and Fetishism: to study the cultural production of New Queer Cinema and gay subculture so as to analyze the dialectical relations between fashion, identity, fetishism as well as between social subject and consuming subject.
官方說明文件#: NSC93-2411-H009-007
URI: http://hdl.handle.net/11536/91372
https://www.grb.gov.tw/search/planDetail?id=993942&docId=186131
顯示於類別:研究計畫


文件中的檔案:

  1. 932411H009007.pdf