《魔法少女小圓》的反動： 論魔法少女倖存者

起始於一九六零年代的魔法少女動畫經常描寫少女使用魔法戰鬥。在《美少女戰士（1992-1997）》盛行的年代，這類別以魔法少女與她的動物夥伴廣為人知。《魔法少女小圓（2011）》也遵循了這個模式，如同少女角色鹿目圓自始至終都受貓似丘比索求成為魔法少女。當她在權衡許下願望並成為魔法少女的利弊之時，另一個角色，曉美焰，為了拯救小圓遠離魔法少女的命運──變身為魔女死於魔法少女之手或是負於魔女而死去──穿梭於時空中。由於小焰成功逃脫這些命運，我認為她當為魔法少女倖存者，其特質和意義我將以改動卡洛．J．克洛弗（Carol J. Clover）恐怖電影著作之虐殺電影的倖存少女概念來解釋。第一章以魔法少女的意義為開頭，後接簡短的魔法少女動畫史。在兩元素──可愛與變身儀式的分析之後，此章以小焰的與眾不同和其重要性作結。因她是《魔法少女小圓》裡的倖存者，第二章運用虐殺電影的敘事框架以理解小焰的倖存狀態，以及《魔法少女小圓》的世界觀與其他魔法少女動畫如何不同。第三章將會解釋為何我分類小焰為魔法少女倖存者於當代日本媒體文化思辨場域，其包含了心理醫生和文化評論家齊藤環根基於拉岡（Lacan）創造的戰鬥美少女新詞「陽剛少女」。在這個研究中，我期許在魔法少女類別裡作出理解魔法少女倖存者此複雜變異的貢獻。

關鍵字

魔法少女動畫；美少女戰士；魔法少女小圓；卡洛．J．克洛弗；倖存少女；虐殺電影；魔法少女倖存者；齊藤環；陽剛少女

並列摘要

Magical girl anime, an anime genre that began in the 1960s, usually depicts adolescent girls who use magic to fight. Thriving in the era of the broadcast of Sailor Moon (1992-1997), this genre is widely known for its presentation in which a magical girl is accompanied by an animal companion. Puella Magi Madoka Magica (2011) also follows this pattern as the shōjo character, Kaname Madoka, is solicited throughout the story by Kyubey, a feline-like creature, to become a magical girl. While Madoka was weighing the pros and cons to make a wish and become a magical girl, another character, Homura Akemi, travelled through time to save Madoka from a magical girl’s destiny—either to transform into a witch and die at the hands of a magical girl, or, die as a magical girl who failed to defeat a witch. As Homura successfully escaped these fates, I consider her the magical final girl, whose traits and meaning I am going to explain by adapting Carol J. Clover’s work on the horror film, the Final Girl concept of the slasher film. The first chapter begins with what a magical girl means, and then a brief lineage of the magical girl anime follows. After an analysis of two elements—cuteness and the morphing ritual—the chapter concludes with a description of Homura’s difference from the others, and its significance. Since she is the survivor in Puella Magi Madoka Magica, the second chapter applies the narrative frame of the slasher film to understand Homura’s survivor status, and also how the worldview of Madoka Magica differs from other magical girl anime. The third chapter will explain why I categorize Homura as the magical final girl and situate her within contemporary debates in Japanese media culture, including the work of the psychiatrist and culture critic Tamaki Saito, who coined the term “phallic girl” based on a Lacanian reading to refer to beautiful fighting girls in anime and manga. In this study, I hope to contribute to an understanding of this complex variation in the magical girl genre.

並列關鍵字

magical girl anime ； Sailor Moon ； Puella Magi Madoka Magica ； Carol J. Clover ； Final Girl ； slasher film ； magical final girl ； Tamaki Saito ； phallic girl

參考文獻

Allison, Anne. “Fierce Flesh: Sexy Schoolgirls in the Action Fantasy of Sailor Moon.” Millennial Monsters: Japanese Toys and the Global Imagination. Los Angeles: U of California P, 2006. 128-162.

Google Scholar

---. “Sailor Moon: Japanese Superheroes for Global Girls.” Ed. Timothy J. Craig. Japan Pop: Inside the World of Japanese Popular Culture. 1st ed. New York: M. E. Sharpe, Inc., 2000. 259-278.

Google Scholar

---. “The Japan Fad in Global Youth Culture and Millennial Capitalism.” Ed. French Lunning. Mechademia 1 (Dec 2006):11-21. Minneapolis: U of Minnesota, 2006.