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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/159520


    Title: 從曖昧到肯認的多元光譜：台灣跨性別紀錄片發展及其敘事策略的反思（1995-2024）
    From Ambiguity to Affirmation: Periodization, Representation and Narrative Strategies in Taiwanese Documentaries on Transgender Subjects
    Authors: 曾秀萍
    Tseng, Hsiu-Ping
    Contributors: 臺灣文學學報
    Keywords: 台灣跨性別紀錄片;跨性別敘事模式;跨性別漂浪;身分認同;現身與敘事策略
    Taiwanese Transgender Documentaries;Transgender Narrative Patterns;Transgender Drifting;Identity;Coming Out and Narrative Strategies
    Date: 2025-06
    Issue Date: 2025-09-09 11:51:28 (UTC+8)
    Abstract: 本文蒐羅九○年代至今、三十年間的台灣跨性別紀錄片，建構跨性別紀錄片影像史的初步分期，並探討影片對於跨性別的再現及反思。文中指出台灣跨性別紀錄片的發展呈現了「從曖昧到肯認」的認同歷程與敘事策略，並分為三個時期進行探討：（一）萌芽與發展初期（1995-2005）：曖昧的性／別戲耍與探索；（二）穩健發展期（2006-2018）：紀錄片成為要角的跨性別展演與反思；（三）後同婚／後疫情時代（2019-2024）：跨男影像的突破與敘事模式的侷限。第一期相關紀錄片多遊走於性／別曖昧的空間，尚未有明確的跨認同。在第二期中則出現明確以跨男、跨女作為身分認同的紀錄片，再現了跨主體「做性別」的艱辛，也探討跨主體多元身分的交織性，包括階級、種族、性別，以及各種情慾光譜、親密關係的轉變與負面情感，呈現跨的複雜性。在2019年同婚專法通過之後，跨性別紀錄片的發展也進入第三期，以跨男為主角的影片快速成長，這批影片呈現出「跨的覺醒」、「陽光出櫃」等敘事模式。本文認為在肯認跨性別「做性別」的能動性之餘，不可忽視這些主體在實際生活中因性別越界所遭遇的種種艱難。冀能透過近三十年的紀錄片探討，挖掘跨性別影像資源和歷史，逐步建構台灣本土的跨性別影史與論述。
    This article surveys the documentaries produced since the 1990s on transgender subjects in Taiwan to propose a preliminary periodization of transgender film history and to examine the modes of representation and reflection of transgender subjects. It argues that the development of transgender documentaries in Taiwan illustrates an evolving identity process and narrative strategy, which this article terms "from ambiguity to affirmation" and divides into three periods: the embryonic stage (1995-2005): characterized by playful and exploratory portrayals of ambiguous sexualities; the steady state (2006-2018): when documentaries became a crucial medium for individuals to express and reflect themselves; and the post-same-sex marriage / post-COVID period (2019-2024): marked by a narrative and visual breakthrough in representing transgender men. In the first stage, most documentaries hovered around sexual ambiguity, often lacking clear identification of transness. In the second period, documentaries began to feature transgender men and women as protagonists, highlighting their struggles with "gender making." These works also explored the intersectionality of multiple identities such as class, race, gender and erotic spectrums and the changing form of intimacy, especially with the presence of negative feelings, to reveal the complexity of transgender lives. Following the 2019 passage of the Act for Implementation of Judicial Yuan Interpretation No. 748 (commonly known as the Special Law for Same-Sex Marriage), the development of transgender documentaries entered a new phase. The number of the films centering transgender males increased and they shared the common themes such as "awakening transgenderism" and "cheerfully coming out." This article emphasizes that while acknowledging the agency of transgender individuals in shaping their gender identities, we cannot ignore the hardship these subjects encounter in real life due to the attempt to cross the fixed gender boundaries. By examining nearly three decades of documentary production, this study aims to reflect critically on the activeness and limitation of the pride discourse as a mainstream narrative framework. Through the archiving and analysis of transgender film resources and history, this study will contribute to the step-by-step construction of a Taiwanese transgender film discourse and historiography.
    Relation: 臺灣文學學報, 46, 1-32
    Data Type: article
    DOI 連結: https://doi.org/10.30381/BTL.202506_(46).0001
    DOI: 10.30381/BTL.202506_(46).0001
    Appears in Collections:[臺灣文學學報 THCI Core] 期刊論文

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