武俠電影中的性別角色實踐－以男子氣概的觀點分析

The Practice Of Gender Roles In Martial Arts Films -Analysis In The Viewpoint Of Masculinity

張鄴文(Yeh-Wen Chang)

指導教授 ： 王雅各

國立臺北大學/社會科學學院/社會學系/碩士(2013年)

摘要

本研究運用Connell 關於男子氣概的四個類型分類做為研究框架，分析自一九六六至二○一一起，由著名導演（胡金銓等人）編導的八部華語武俠電影中男女角色的實踐。發現在男性導演凝視下所完成的電影文本，主要男性俠客角色都有邁向邊緣性男子氣概的趨勢。這個趨勢指向一個父權體制內不僅女性受壓迫，男性亦受壓迫的事實。而女性角色常扮演受啟蒙、以身體自主性為交換或犧牲的物件、承擔較為負面的角色形象，以及常直接表達對婚姻及愛情情感上的不安。相較於男性俠客角色，女性角色更主動地訴說情感問題，及面對成長挫折。宦官角色則更積極地解決陽具喪失的焦慮。在陽剛男子氣概的面具下，男性角色必須且得以掩飾這些成長挫折與不安。陽剛男性角色不能做（以男性身體交換權力利益）、不能說（對愛情婚姻與性的焦慮）的事情，透過女性卅宦官角色來呈現。另一方面也發現近代武俠電影中的男性俠客角色的陽剛形象有鬆動的現象。

關鍵字

武俠電影 ； 男子氣概 ； 凝視 ； 胡金銓

並列摘要

In this study, four types of masculinity classified by Connell are used as research framework to analyze the male and female roles in eight Chinese martial arts films which were directed from 1966 to 2011 by famous directors like King Hu. It is found,in the texts created under the gaze of male directors, the leading male knight/swordsman role has a trend towards complicit masculinity. This trend points to
a patriarchal system which actually not only oppresses female but also male. Female roles are often presented as objects being enlighten or sacrificed in the exchange for
bodily autonomy, to assume a more negative role image and often directly show uneasiness on marriage and love emotion. Compared to male knight/swordsman roles,female roles are more motivated to discuss emotional issues and deal with growth setbacks. The eunuch roles are even more positive to resolve castration anxiety/penis envy. Under the mask of hegemonic masculinity, male roles are able to conceal these growing frustration and anxiety. The matters masculine male roles can not do (exchange male body in sexuality for authority and advantage), and can not say
(anxiety of love, marriage and sex) are rendered by female / eunuch roles. On the other hand, it is found a phenomenon of loose in masculine image of the male knight/swordsman roles in modern martial arts films.

並列關鍵字

Martial arts film ； Masculinity ； Gaze ； King Hu

參考文獻

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