标题: | 主体形构,异质空间与新酷儿电影的抵拒美学 Subjectivity Formation, Heterotopia, and the Aesthetics of Resistance of New Queer Cinema |
作者: | 张霭珠 Chang Ivy I-Chu 交通大学外国语文学系 |
关键字: | 酷儿;同志;新酷儿电影;心理分析;性别;文化研究;电影研究;主体;历史;异质空间;恋物;消费;公路电影;纪录片;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 |
公开日期: | 2004 |
摘要: | 本研究结合心理分析、酷儿研究与电影研究,探讨主体型构、异质空间、与新酷儿 电影(New Queer Cinema)的酷异策略及美学。研究对像包括90 年代初期受人瞩目的新 锐同志导演Isaac Julien、Chritopher Munch、Tom Kalin、Gregg Araki、Todd Haynes 及其作品。 新酷儿电影的特色是独立制作、拼贴、反讽、偏离传统的人文观点也偏离认同政治, 叛逆不羁,以酷异游离的美学,挑战主流道德尺度。本研究将从下面几个方向进行: 一、探讨导演如何揉杂类纪录片与剧情片、历史档案、私密日记等,作为抵拒策略 与美学实验,让同志观点及情欲渗入历史大论述的框架中,以建构同志抵拒历 史。 二、援引Foucault 异质空间(heterotopia)之概念,探讨电影角色的内在外在活动 空间,并分析异质空间如何象征性、结构性的展演同志主体弃绝在家国之外, 成为社会边缘人的过程。这过程混合了越界、愉悦、罪恶,是污名化的所在, 亦蕴含结构反转之可能。 三、从耻辱践履的观点,分析酷儿主体形构与美学实践之间的吊诡性;并从影像、 观视、欲望的反思,希望打破传统观看主体与被观看客体之二元划分,解析电 影角色与观众之间变异的认同及情欲能动性。 四、从同志电影的文化符码及生产模式,探讨时尚、认同和恋物消费之间的变异 性,以及消费主体和社会主体的辩证关系。 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. |
官方说明文件#: | NSC93-2411-H009-007 |
URI: | http://hdl.handle.net/11536/91372 https://www.grb.gov.tw/search/planDetail?id=993942&docId=186131 |
显示于类别: | Research Plans |
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