(289)
|
| 新女性的復仇： 社會寫實電影中的色情、越界與批判 |
| Revenge of the New Woman: Eroticism, Transgression, and Critique of Social Realist Film |
 |
| 作者 |
江美萱 |
| Author |
Mei-Hsuan Chiang |
| 關鍵詞 |
臺灣電影、
社會寫實片、
女性復仇、
色情與藝術、
新女性、
《瘋狂女煞星》
|
| Keywords |
Taiwan Cinema,
Social Realist Film,
female revenge,
sex versus art,
new woman,
Lady Avengers
|
| 摘要 |
1970年代末期到1980年代初期，臺灣電影工業出現大量以暴力、色情為賣點的「社會寫實電影」，雖然女性復仇主題在社會寫實電影中有著舉足輕重的地位，但目前研究並未針對該類型中的色情及女性議題做進一步討論。本文將重新爬梳女性復仇電影興起的背景並深入探討臺灣從1970 年代中期開始的社會變遷如何影響該類型中女性形象的塑造。文章前半部將女性復仇片置於臺灣1970年代中期開始的一場「色情與藝術」論戰以及逐漸開放的媒體潮流中，討論當時社會寫實電影如何以藝術性及寫實主義之名為女性復仇片的色情解套。除了傳播媒體尺度的改變，臺灣社會中的女性地位也出現劇烈變化，從1960年代末期大量女性加入職場開始，到後來1970年代非官方主導的女性運動，都迫使社會面對新女性與傳統男性主導社會的衝突。藉由分析女性復仇片中所形塑的大膽、越界女性影像，特別是楊家雲的經典作品《瘋狂女煞星》（1981），本文進一步討論該類型如何反映當時婦女問題以及社會對新女性的理解及批判。 |
| Abstract |
Taiwan saw the rise of Social Realist Film (shehui xieshi dianying, aka. Taiwan Pulp), a popular genre dominated by extreme violence and eroticism from the late 1970s to early 1980s. Although the theme of female revenge plays a significant role in these films, the existing literature does not pay much attention to the genre’s representation of female sexuality and women’s issues. This article re-examines the rise of female revenge films and ways in which social changes starting from the mid-1970s help shape women’s image in this genre. The first part of the article situates female revenge films in the “sex versus art” discourse from the mid-1970s to explore social realist films’ defense of its erotic appeal. While media and popular culture were gradually flooded with sexual images during the second half of 1970s, women’s social status also went through drastic transformation—more and more women joined workforce starting from the late 1960s and unofficial feminist movements began to appear—which forced the society to face the conflicts between growing feminist consciousness and traditional male-dominated world. Through the analysis of the bold and transgressive female avengers, with a specific focus on Yang Jia-yun’s Lady Avengers (1981), the article further discusses ways in which the genre reflects emerging women’s issues during the 1970s and 1980s, and the society’s conception and critique of the new woman. |
|
|
|
