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第 23  期


Prince of the Immortal Pavilion: Yonfan and His Gender Romance
作者 沈曉茵
Author Shiao-Ying Shen
關鍵詞 楊凡性別華語電影《海上花》《遊園驚夢》《淚王子》
Keywords Yonfan, LGBT, Chinese cinemas, Immortal Story, Peony Pavilion, Prince of Tears
摘要 楊凡是拍了 12 部劇情片的華人導演、是對 LGBT 影像再現耕耘了將近三十年的電影工作者。本文專注於三部楊凡的華語片──在澳門拍攝的《海上花》(1986),在蘇州取景的《遊園驚夢》(2001),在高雄拍製的《淚王子》(2009)──分析它們的性別演敘。《海上花》以異國風情樣貌講述一個「毒販白粉妹和女同性戀的故事」 《遊園驚夢》以華麗的戲曲裝扮創意地再敘一個民國版。的《牡丹亭》 《淚王子》則是以女女戀情及魅影旋律呈現一個眷。村裡的白色恐怖故事。本文以形式分析檢視這三部電影,強調它們的關鍵處,或說精彩處,在其性別語彙的運用及浪漫情懷的表述。論文透過三部影片帶引出楊凡的性別羅曼史,凸顯楊凡在華語區對性別多樣呈現所作的投注。
Abstract Yonfan is a director who has made 12 feature films, a filmmaker who has explored LGBT representation for nearly 30 years through his transnational Chinese pictures. This paper focuses on three Yonfan features—Immortal Story (1986), Peony Pavilion (2001), Prince of Tears (2009)—and analyzes their gender technologies and performances. The shot in Macao Immortal Story employs exoticism to recount a love story amongst a drug dealer, a drug addict, and a lesbian mamasan. Peony Pavilion, with locations in Suzhou, indulges in sartorial spectacles to rework the classical drama by Tang Xianzu. And the produced in Kaohsiung Prince of Tears highlights female bonds and haunting melodies to zoom in on betrayals in a military village during the White Terror period in Taiwan. This study relies on formalistic analysis to bring forth Yonfan’s virtuosic deployment of gender elements in expression of his heightened sense of filmic romance. Through these films, this paper delineates Yonfan’s gender romance and identifies Yonfan’s contribution to the non-fixity of gender representation in the world of Chinese cinemas.
/ 梁碧茹    Pi-Ju Liang
/ 卓庭伍    Ting-Wu Cho
新女性的復仇: 社會寫實電影中的色情、越界與批判
/ 江美萱    Mei-Hsuan Chiang
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