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台灣自2002年的電影《藍色大門》後,兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見,這類電影脫離以往媒體再現同性戀者的刻板印象,明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩,對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法,從電影工業及創作角度切入,指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難,以及青春成長電影類型低成本的特性,均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性,對同志的再現反而有所局限,本文認為,更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案,讓我們了解作者在商業電影創作中注入個性遇到的各種困難,亦提供了認識「後新電影」重尋生存策略的視角,檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 ; Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. ; Detailed summary in vernacular field only. ; 鍾嘉瑩. ; Thesis (M.Phil.) Chinese University of Hong Kong, 2015. ; Includes bibliographical references (leaves 110-116). ; Abstracts in English and Chinese. ...

自90年代初起,中國的拉拉(女同性戀)運動共經歷了近20年的發展。本研究探討在這20年的時間裏,拉拉運動家如何將拉拉運動從只限於北京地區的少數女同性戀活動,擴展成為全國遍地開花的拉拉活動和組織。 ; 然而,在這一過程中,拉拉運動家遭遇了各種各樣的困境。這其中既包括了威權政府統治對草根行動的重重限制,也包括媒體在性少數議題上的保守態度和審查機制,還包括國內缺少關於中國同志運動本土化的思想資源。本研究以"實用主義反抗"為論文的中心論點來展示拉拉運動家如何應對這些困境和促進運動的發展。"實用主義反抗"揭示了拉拉運動家的實用主義精神和遊牧主體性。具體來說,該概念是用於指稱她們的多元運動策略,也即是在不同的語境和運動發展階段相應地實踐不同策略。同時,她們也不死守某一種身份和意識形態,而是靈活地挪用各種身份和思想資源來促進變革。 ; 本論文集中討論拉拉運動家實用主義反抗的三種具體策略。首先,拉拉運動家採用"納入"策略,把拉拉議題納入國家主流議題中,從而令關於性少數平權的敏感議題能在主流甚至官方的討論中得到呈現。其次,拉拉運動家運用了增加能見度的策略,這包括:靈活運用商業活動來進行大規模公眾宣導和通過策劃同性婚姻平權的各種行為藝術來吸引媒體報導。再次,她們使用了"吵架"這一策略。拉拉運動家在和男同性戀運動家和女權主義者的爭論中強化了拉拉運動的差異性和獨立性,從而生產出關於拉拉運動的本土論述。 ; 本文展示了拉拉運動家在威權統治下仍然能進行變革的難能可貴的能動性、創造力、韌性以及靈活應變的能力。與此同時,本文也為社會運動研究和同志研究帶來一些新的啟示,例如打開了關於權力、統治和反抗的新想像,並論證了開放式結盟對於在威權社會治下的同志運動以及其他草根運動的重要性。 ; A lala (lesbian) movement has survived and thrived in China in the past 2 decades. This dissertation explores how lala (lesbian) activists successfully constructed a movement from sparse lala activities only identifiable in Beijing in the 1990s to the flowering lala organizing all over China in the present. This study situates the lala movement within such Chinese contexts: the authoritarian conditions that civil-political rights and democratic processes are limited, the media's censorship towards homosexual issues, and a lack of localized knowledge on LGBT movement in China, and aims to investigate how lala activists interact with such contexts and work towards social changes. ; The concept of pragmatic resistance is the central theme for analyzing such a process and shows how lala activists have innovated strategy and tactics to achieve social changes under such contexts. Pragmatic resistance characterizes lala activists' philosophy and methodology for sustaining and advancing the movement in China. It shows how lala activists adopted pragmatism and nomadism to respond to the problems and changes for facilitating their movement. Lala activists respond to the specific conditions in which their movement emerges and develops, rather than to the demands of ideology, and they are ...