臺灣家庭主題電影中的父權
No Thumbnail Available
Date
2024
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
本文探討當代臺灣家庭主題電影中的父權，並以Raewyn Connell提出的四個性別關係面向為構面，覺察並分析各部作品中的父權面貌。透過家庭題材電影，本研究旨在觀察父權的存在與運作方式，以及其是否正在潛移默化閱聽者的價值觀，進而對這些現象進拆解與批判。本研究以《陽光普照》（2019）、《孤味》（2020）、《美國女孩》（2021）及《一家子兒咕咕叫》（2022）四部臺灣電影作為研究題材，透過文本分析法，以剖析臺灣家庭主題電影的性別關係，並分析比較四部電影的父權現象差異。研究分析發現，臺灣家庭主題電影中的性別關係面向呈現是多重而複雜的。權力關係而言，四部電影皆由男性位居權利中心；性別分工關係而言，四部電影皆由女性負責無酬勞動，少數情況女性亦須負責有酬勞動，而男性僅負責有酬勞動；情感關係而言，多是男性向女性索取情感支持；符號文化論述部分，四部電影皆有各自父權的代表意象。研究結果顯示，四部文本中皆含有乘載父權，然《孤味》與《一家子兒咕咕叫》有在劇情的結尾加入批判父權的意象；《陽光普照》與《美國女孩》則否。
This paper explores patriarchal relations in contemporary Taiwanese family theme films, using Raewyn Connell's four gender relations as a framework to identify and analyze the patriarchal aspects of each work. Through family-themed films, this study aims to observe the existence and operation of patriarchal power and whether it is submerging the values of the audience, and then to dismantle and criticize these phenomena. This study takes four Taiwanese films, “A Sun”(2019), “Little Big Women” (2020), “American Girl” (2021), and “Coo-Coo 043” (2022), as the subjects of the study. Through textual analysis, the presentation of gender relations in Taiwanese family theme films is multiple and complex. The study analyzes the gender relations in Taiwanese family theme films and compares the differences in patriarchal power phenomena among the four films. The study reveals that in terms of power relations, men are at the center of power in all four films; in terms of gender division of labor, women are in charge of unpaid work in all four films, and in a few cases, women are also in charge of paid work, while men are only in charge of paid work; in terms of emotional relations, men are mostly asking women for emotional support; and in terms of symbols and culture, all four films have their own representations of patriarchal power. In terms of symbolic cultural discourse, each of the four films has its own representation of patriarchal imagery. The results of the study show that all four texts contain patriarchal multiplication, but “Little Big Women” and “Coo-Coo 043” include patriarchal criticism at the end of their plots, while “A Sun” and “American Girl” do not.
This paper explores patriarchal relations in contemporary Taiwanese family theme films, using Raewyn Connell's four gender relations as a framework to identify and analyze the patriarchal aspects of each work. Through family-themed films, this study aims to observe the existence and operation of patriarchal power and whether it is submerging the values of the audience, and then to dismantle and criticize these phenomena. This study takes four Taiwanese films, “A Sun”(2019), “Little Big Women” (2020), “American Girl” (2021), and “Coo-Coo 043” (2022), as the subjects of the study. Through textual analysis, the presentation of gender relations in Taiwanese family theme films is multiple and complex. The study analyzes the gender relations in Taiwanese family theme films and compares the differences in patriarchal power phenomena among the four films. The study reveals that in terms of power relations, men are at the center of power in all four films; in terms of gender division of labor, women are in charge of unpaid work in all four films, and in a few cases, women are also in charge of paid work, while men are only in charge of paid work; in terms of emotional relations, men are mostly asking women for emotional support; and in terms of symbols and culture, all four films have their own representations of patriarchal power. In terms of symbolic cultural discourse, each of the four films has its own representation of patriarchal imagery. The results of the study show that all four texts contain patriarchal multiplication, but “Little Big Women” and “Coo-Coo 043” include patriarchal criticism at the end of their plots, while “A Sun” and “American Girl” do not.
Description
Keywords
家庭主題電影, 性別關係, 父權, Family Theme Films, Gender Relations, patriarchy