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    题名: 身障•底層•跨世代：周美玲《漂浪青春》中的同女漂浪與女同志情慾實踐
    The Disable, Underclass, Intergenerational: On the drifting lesbians and homoerotic practice in Zero Chou’s Drifting Flowers
    作者: 曾秀萍
    Tseng, Hsiu-Ping
    贡献者: 臺灣文學學報
    关键词: 底層女同志電影;視障女同志;老年女同志;T婆形象;多元成家
    lesbian cinema;visually impaired lesbian;elderly lesbian;butch/ femme representation;gender-diverse family
    日期: 2024-06
    上传时间: 2024-08-19 11:59:50 (UTC+8)
    摘要: 本文將重探周美玲電影《漂浪青春》（2008）中對於底層女同志情慾再現與處境分析，一方面持續進行有關性／別政治分析，同時也強調其他交織性的面向，諸如：身心障礙、階級、世代、地域、家國體制權力等課題。文中首先將深入分析常被前人所忽略的底層視障女同志主體，論述其在社福體系及健全主義下所遭受的困境。並探討電影中的T婆再現，並指出《漂浪青春》透過多對T／婆關係、情慾互動的展演，翻轉了一般人對女同志T婆角色扮演的刻板印象。最後則探討片中跨世代／跨時代的（老年）女同志傳承、及其如何翻轉／操演（異性戀）婚姻，形成另類的情感共同體、多元家庭。
    本文以「漂浪」來指稱這些底層女同志的文化特質，但同時也強調《漂浪青春》再現同女漂浪之際，也預示了角色們在歷經創傷後，猶能打造烏托邦的未來。文末指出《漂浪青春》以火車、鐵道等意象，貫串電影的三段式結構，以今昔交錯、虛實相映的手法，串連了跨世代／時代的酷兒實踐，展現了異質的酷兒時空。本文希望藉由對於《漂浪青春》的探討，能突顯非主流、非都會、非中產階級、非知識菁英的底層女同志銀幕形象，豐富華語女同志影像的多元樣貌，並反思同志電影中的性／別差異及階級化現象。
    Revisiting the representation of the underclass lesbians’ sexual desires and situations in Zero Chou’s Drifting Flowers (2008), this article, on the one hand, highlights the analysis related to the politics of sexualities, on the other hand, underlines other aspects interweaved with sexualities, such as disabilities, classes, generations, regions, and the nation-state’s institutions, as well as power. This article first analyzes in-depth the visually impaired lesbian subject of the underclass, which has been neglected in the related literature to display the predicament of a queer with disabilities under the welfare system and ableism. By discussing the butch-femme representation in the film, this article intends to point out how Drifting Flowers topples the stereotypical butch-femme role-playing by depicting the relationship and homoerotic interaction among several lesbian subjects. Finally, this article explores the intergenerational/ cross-era inheritance in the film by discussing how (elderly) lesbians reverse/ perform the idea of (heterosexual) marriage with the formation of an alternative affective community and a gender-diverse family.
    This article uses the term “drifting” to name the cultural feature of these underclass lesbians and to underline that while representing the draftiness of lesbians, Drifting Flowers also hints at the characters’ ability to build a utopian future after underdoing the traumatic experience. This article ends with discussing the imagery, such as the train and railroad running through the three parts of the film to create the intersection of the present and the past, as well as the virtuality and reality, connecting the particular queer time and heterogeneous space where the intergenerational / crossera practice of queer eros is possible. Drifting Flowers exemplifies various lesbian images in Sinophone cinema. By reading it closely, I hope to emphasize the lesbians who are not the mainstream, urban, middle-class, or intellectual elites but belong to the underclass to reflect on the phenomenon in tongzhi / queer cinema where gender and sexualities are differentiated and stratified.
    關聯: 臺灣文學學報, 44, 37-65
    数据类型: article
    DOI 連結: https://doi.org/10.30381/BTL.202406_(44).0002
    DOI: 10.30381/BTL.202406_(44).0002
    显示于类别:[臺灣文學學報 THCI Core] 期刊論文

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