在影史邊緣漫舞：重探《女子學校》、《孽子》、《失聲畫眉》

Dancing in the Margin: Homosexual Films of the 1980s and Early 1990s in Taiwan

長期以來台灣電影史的建構皆環繞著具有國族電影代表性的作品，80年代初期出現的「台灣新電影」影響力尤深，也主導著自此之後台灣電影史的史觀。儘管新電影的作品本身在美學風格和內容主題上皆有突破性意義，但不可否認地，新電影的歷史定位突顯了建構電影史的階序：國族／公領域／藝術／中心v.s.（同性）性相／私領域／商業／邊緣，這也導致以同性戀為主題的電影在台灣電影史的討論中缺席。本文取拾荒收藏之精神，重探台灣80年代初至90年代初當同性戀議題浮上檯面，但同志論述尚未深入文化再現領域時三部以同性戀為題材的商業電影：《女子學校》（李美彌1982）、《孽子》（虞戡平 1986）、《失聲畫眉》（鄭勝夫 1991）。本文一方面究其邊緣位置的由來，二方面則從同性戀再現的可見性政治切入，重新檢視三部電影在文本和超文本論述中所反映、象徵、回應的性／別意涵與規訓邊界，並重新評估其擾動性／別結構秩序的潛力和開拓出的縫隙空間。

Against cultural and political conservatism of mainstream commercial films in the 1970s, Taiwan New Cinema’s thematic search for a lost self in national terms and artistically-oriented aesthetics have made it long be recognized as the epitome of national cinema of Taiwan. It is also the central point of reference in constructing the history of Taiwan cinema, exemplified by such terms as the “second wave Taiwan New Cinema” and “post-Taiwan New Cinema.” The over presence of Taiwan New Cinema, however, has structured a slanted film history of Taiwan that underlines the exclusive importance of national cinema that foregrounds art-house style and concerns for male-centered and heterodominant nationhood. Accordingly, the contemporaries of Taiwan New Cinema have been by and large forgotten, including films that deal with homosexual subject-matter. This paper excavates three neglected homosexual films—Girls’ School (Li Mei-mi, 1982), The Outsiders (Yu Kan-ping, 1986), and The Silent Thrush (Zheng Sheng-fu, 1991)— made around the same time as Taiwan New Cinema and before the tongzhi rights discourse has affected the realm of cultural representations. I argue that the ways in which these films approach, engage and negotiate issues of homosexuality have to be understood as part of a genealogy of tongzhi representation despite the fact that they may seem shoddy, lowbrow and stereotypical. They need to be contextualized and perceived as indicative of a particular struggle of the representation of homosexuality, and it is from this perspective that these early homosexual films are important to the cinematic imagination and construction of Taiwan that deserve to go down in the history of Taiwanese cinema.