東西方電影中的跨文化女俠形象

Abstract

性別與類型是做電影研究的兩大關鍵點。種類豐富的華語電影中，武俠片展現了其他類型電影所缺少的俠義精神。而女俠片為其中的重要分支，電影中女俠以獨特的魅力大放異彩，個個大馬金刀、英姿煥發、巾幗不讓鬚眉，同時帶有女性的獨有的嫵媚柔情、端莊矜持。不論是東方或西方，女俠電影皆在以男性為主導地位的文化中，使女性從處於被支配的從屬地位，至跳脫傳統規範女性的桎梏，使女俠在刀光劍影的綠林江湖或動蕩不安的社會中鋤強扶弱、行俠仗義、拯救世界。

本論文從1920至1970年代數部女俠片之歷史脈絡、演進及其歷史地位著手；而後探討冷戰背景下知名武俠電影導演胡金銓如何以性別曖昧的女俠形象在陽剛男俠主導電影市場時獨樹一幟，以其執導的《俠女》為例，剖析胡式女俠對後世武俠片的影響與啟發。接著再以二十一世紀的東方俠藝電影《劍雨》、《刺客聶隱娘》以及西方英雄電影《神力女超人》、《黑暗騎士黎明昇起》為例，透過人物、性格、情節、事件的脈絡結合女性主義析論電影中的女性形象，以期深入了解中西女俠的行事準則與人格特質。論文末段結合前幾章的研究，從「跨文化視角」審視和探討中西女俠電影之女性形象，力求對中西女俠在跨文化交流的角度中有新的闡釋，並提出三大總結。

本研究以性別研究、女性主義、跨文化角度等析論中西電影之女俠形象與女性意識，一窺女俠之跨文化形象與中西文化內涵暨差異性，往後女俠的類型形象之文化意義和性別意義將隨著時代如何演變與創新，值得同領域研究者繼續關注。The two main subjects that are most frequently researched in film are gender and genre. Asian films cover a plethora of genres, including martial arts films, which depict a chivalrous spirit that is often absent in other film types. As an important subgenre, women warriors martial arts films highlight the unique charisma of the female warrior, often focusing on traits that exemplify the heroine's boldness and glory, while simultaneously maintaining a gentle touch, feministic demureness, and undemonstrative traits. Movies featuring heroines are, in both eastern and western films, set in male-oriented cultures. This allows the women to break free from the shackles of social norms and the limitations set on the female as a character in a subordinate setting. In the films, the female warriors assist the weak and vulnerable in dangerous martial arts worlds or restless societies, bringing justice and peace to the lands.

This thesis first examines the historical context, evolution, and historical significance of martial arts films depicting women warriors between the 1920s and 1970s. It then discusses how a director who became famous during the Cold War, King Hu, was able to ambiguate the female warrior image to find his niche in the male-dominated movie industry. We take a look at A Touch of Zen to analyze the influence and inspiration King Hu’s female warrior style brought to future martial arts films. Moving on to 21st-century Eastern martial arts films, we use Reign of Assassins and The Assassin; then we view the Western superhero movies Wonder Woman and The Dark Knight Rises as case studies using the characters, personalities, plots, and events to examine the female image from a feministic viewpoint to determine the code of conduct and traits of a heroine. Finally, the research in previous chapters is summarized as we discuss the “cross-cultural viewpoint” of the female image in both Western and Eastern women warriors martial arts films, striving to find a new interpretation of the women warriors and coming to three conclusions.

This study investigates the image of the women warriors in both Western and Eastern women warriors martial arts films and feminine consciousness from gender study, feministic, and cross-cultural viewpoints. We compare the traditional Eastern, Western and cross-cultural image of the women warriors. Finally, this paper addresses the image of the female warrior and how its cultural significance will continue to develop and evolve with the changing times and will continue to be worthy of future academic studies.