幫派、國族與男性氣概：解嚴後台灣電影中的幫派男性形象

gster, Nation and Masculinity: Gangster Men in Taiwanese Post-Martial Law Films

電影中幫派男性的形象向來是以顯著的男性氣概做為其角色身份與定位之標記，然而男性氣概的呈現絕非單一樣貌，更非僅止於體魄、肢體暴力與外貌特質的形塑，相反地，最重要的往往是建構出該幫派男性形象背後之意識型態，使該角色體現更深刻的社會與文化議題。解嚴後台灣出現相當多以幫派角色與題材為主軸的電影，學界對於此類解嚴後台灣電影的討論常偏重於其在新電影的脈絡與傳統下，如何呈現國族與現代化的困境，《悲情城市》（侯孝賢，1989） 可說是受到最多研究分析的幫派題材電影，然而其中相當顯著的幫派鬥爭、幫派角色刻劃與國族困境的關係卻少見著墨。男性氣概的展現與國族意識的追求向來有著鮮明的共生關係，而解嚴後台灣電影中幫派男性在生存鬥爭中所呈現的氣質樣貌與意識形態更是體現了其時代脈絡下的台灣國族困境。是故，本研究將以解嚴後台灣電影中的幫派角色為主要分析對象，探討其中男性幫派角色的男性氣概如何被形塑且體現出該時代的台灣國族困境。

Masculinity has been the most important issue in creating the images of gangster men. However, masculinity cannot simply be defined as bodily image with well built-up muscles and the capability for violent acts. Rather, what makes a gangster man masculine relies more on the ideology beneath that determines the acts he takes, which in many cases reflect the bigger cultural and social issues in the specific context. Gangster themes and characters are the frequent themes or backbones in Taiwanese films in the post-martial law era, but most researches focus on the identity and modernity issues under the tradition of Taiwan New Cinema. City of Sadness, for instance, is the most discussed film with considerable emphasis on gangster themes. However, analyses surrounding the gangster themes, characters and the identity issues involved in the film are hardly available. Discussions of masculinity have been closely related with the pursuit of secured identities, and thus the masculinity displayed by the gangster men in the post-martial law films has to be scrutinized in regard to the anxieties of identity issues in Taiwanese context. This essay focuses on the qualities of masculinity in Taiwanese films in the post-martial law era, and investigates how such masculinity displays the identity quandary in Taiwan through the struggles of gangsterdom.