男同志「異性戀婚姻」裡的婚姻困境與同志形象：以《明天記得愛上我》、《誰先愛上他的》、《親愛的房客》為例

本文以《明天記得愛上我》、《誰先愛上他的》和《親愛的房客》三部電影為討論對象，聚焦電影所再現的男同志「異性戀婚姻」，透過分析同志進入「異性戀婚姻」所遭遇的挑戰、編導的創作意圖與同志形象的關聯性，梳理此類型電影對同志議題提出創見與盲點。這三部2000年後上映的電影，和90年代《囍宴》處理類似題材著眼點不同。處理喜宴之後，同志經營「異性戀婚姻」可能遭遇的挑戰，包括性向導致的婚姻危機、妻兒的困惑等，讓觀眾思索異性戀婚姻被視為唯一選項的可能弊病，顯現臺灣電影對此議題探討的深化。值得注意的是，這三部電影編導的再現策略，點出同志現實處境之餘，也展現跨出同溫層的對話意圖。此種嘗試雖可能促使觀眾關注同志處境，但電影有志一同形塑同志好爸爸和癡情的形象，仍有將同志形象刻板化的疑慮。

關鍵字

男同志異婚；同妻；《誰先愛上他的》；《親愛的房客》；《明天記得愛上我》

並列摘要

This article focuses on three films ＂Will You Still Love Me Tomorrow?＂,＂Dear Ex＂ and ＂Dear Tenant＂. First, I compare them with classic film ＂The Wedding Banquet＂ dealing with similar themes in the 1990s, and point out that the focus of these three films released after 2000 is different. Then, on this basis, discuss the possible challenges faced by gays in operating ＂heterosexual marriages＂ presented in these three films, including the marital crisis caused by sexual orientation, the confusion of wives and children, etc. It makes audience think about the disadvantages of heterosexual marriage as the only option, and shows that Taiwanese movies have deepened the discussion on this issue. It is worth noting that these three film directors' representation strategies not only point out the reality of gay, but also show the intention to cross the echo chamber of dialogue. Although such an attempt may prompt the audience to pay attention to the difficult situation of gays, there are still doubts about stereotyping the image of gays by shaping the good and infatuated images of gay fathers and lovers repeatedly in these movies.