臥虎藏龍「藏」了什麼？從女性主義電影理論「男性凝視」觀點談武俠電影新類型

What's in Crouching Tiger Hidden Dragon - A study on Wu Xia genre from male gaze perspective in feminism film theory

本研究以女性主義電影理論「男性凝視」觀點，分析藏在《臥虎藏龍》中的女性形象，進而討論武俠電影新類型的可能。Mulvey在《視覺快感與敘事電影》指出，具有決定性的「男性注視」將幻想投射在女性形象身上，造成女人被當作影像，男人則作為觀看的「運載者」。觀察傳統武俠電影可以發現，女性形象不是被「物化」、「醜化」，就是被「邊緣化」。然而，《臥虎藏龍》顛覆傳統武俠電影以男性為中心的思維邏輯，片中女性不僅掌控情節鋪陳，更挑戰Mulvey提出男性為「觀看控制者」的論調，其中尤以玉嬌龍為代表人物，從其毀棄婚約、盜取寶劍、跳崖殉道的歷程，可視為女性在父權體制壓迫下的「自覺」展現。《臥虎藏龍》已然顛覆武俠電影女性附屬於男性的刻板印象，帶來武俠電影類型創新可能。

This study hopes to investigate the female images in "Crouching Tiger Hidden Dragon" from male gaze perspective in feminism movie theory, and then debate on the possibility of Wu Xia movie new genre. Mulvery in her "Visual Pleasure and Narrative Cinema" points out male gaze projects their illusions upon female images, which makes woman as image and man as bearer of the look. Women are always objectified, uglified or marginalized in traditional Wu Xia movies. In "Crouching Tiger Hidden Dragon", however, Jen as a female, takes over of the storyline and challenges Mulvey's standpoints on looker as controller. By ruining marriage, stealing sword, and jumping onto cliff, Jen displays the self-awakening inside females. Therefore, "Crounching Tiger Hidden Dragon" thoroughly subverts females' subordinate images. It also shows the changes and creation of Wu Xia movie from successful great evaluation.