論克里斯多夫諾蘭蝙蝠俠電影中的服飾裝束與軍事角色刻劃

Abstract

本文主要探討在克里斯多夫諾蘭蝙蝠俠電影中，透過服飾裝扮與軍事角色刻劃，男子氣概如何被解釋為對抗男性危機的防禦機制，也將揭示電影如何建造被性感化的男性形象。此文論點起始於把男子氣概視為性別扮演下的產物，而後說明諾蘭如何再陽剛化這位超級英雄。 在第一章概論中，介紹了藉由蝙蝠俠電影分析陽剛氣的表演性，進而提出主角的男子氣概是由一連串的性別操演所組成的文化產物。 第二章討論蝙蝠俠的服飾裝扮的打造過程帶領了當代的時尚宣言，推翻了過去電影影像中把性感與裸露畫上等號的思維，利用裝扮的概念傳達陽剛氣質與性吸引力。蝙蝠俠除了利用服飾偽裝來表現他的男子氣概，他在服飾裝束上的依賴傳達出他的戀物傾向。在蝙蝠俠的例子中，是他的服飾與被掩蓋的身體引起性吸引力，同時也說明著裝過程中的戀物時刻。服裝的打造目的在於讓觀眾認同蝙蝠俠的陽剛氣，而就他所傳遞出的性信號甚至超越性別認同。 第三章藉由分析蝙蝠俠的軍事角色刻劃，檢視了軍事面向在男性性別展演中的地位。藉由此三部曲作為分析性別展演的理論依據，由茱蒂絲．巴特勒的「表演性」的概念來探討蝙蝠俠如何透過身體與軍事配備來「表演」他的陽剛氣。而電影中呈現的軍事化形象的過程透露出蝙蝠俠的自虐以及自我受難的傾向，指出當代男性追求超陽剛氣得不自然現象。主角的過度表演反映出男性對去陽剛化威脅的焦慮，而軍事角色的展演則成為理想的男性形象以用來重整父權體系的社會。 第四章總結了這三部曲的分析，得出的結論為陽剛氣是為一種性慾取向的重複行為，以服飾裝束以及軍事角色為追求理想男性特徵的手段，主角對追求再陽剛化的過程奠定了一種社會、文化性別，而此社會性別並非天生的性別，而是後天再製而成的產物。

Inspired by Christopher Nolan’s Batman trilogy, I intend to delve into the understanding of masculinity as masquerade that serves as the defense mechanism against the male crisis, on which I develop a new comprehension of the sexualized male identity in cinematic representation. My argument starts with the assumption that masculinity is the production of a gender enactment and from there illustrates the ways adopted to construct masculinity in Nolan’s Batman films. My main focus will be on two ultimate manners to re-masculinize this superhero: costuming and the buildup of a military persona. The first chapter centres on the development of the costume. I assert that Nolan’s costume design introduces a fashion statement that subverts the general idea of the equation between sexuality and nudity in order to arouse the sexual attraction through the costumed image. Combining the symbolic meaning and practical functions of the costume, Batman utilizes the costume to perform his masculine identity. Meanwhile, the fetishistic tendency manifested by Batman’s dependence on his attire. In the case of Batman, it is the costume and the covered body that triggers the sexual attraction and reveals the fetishistic moment of costuming. The viewers consciously endorse the sexuality implied and his masculine quality through the concealed meaning of costume making. The second part of the thesis focuses on the construct of Batman’s military persona. Using Judith Butler’s perspective on performativity, I intend to explain why Batman’s military persona is performativity and how it functions in reality. Weaponry and body performance are the means to enhance Batman’s gender/masculine performativity. I suggest that Batman’s masochistic tendency and self-victimization of his persona indicates the non-naturalness in pursuing a hyper-masculinity. In my reading, his excessive performance has reflected the equivalent anxiety of the imaginary threat towards maleness. Batman’s military persona serves as the idealized male image for restoring the falling patriarchal system. The purpose of my thesis is to first identify masculinity as the result of a series of performance and further concentrate my argument on costuming and militarizing. Through costuming and the buildup of Batman’s military persona, I seek to explain why masculinity is not a pre-existing fact, but rather a cultural production of gender enactments demonstrated in Nolan’s Batman films.