你看見的BL 不是我的BL？! - 男同志對於BL劇的觀影經驗與親密關係反思

Abstract

本研究主要以臺灣BL劇和收看BL劇的男同志作為研究主體，深化與拓展三次元中男性閱聽人的面貌，本研究探討的兩大研究問題，是在泛BL化的情況中，男同志是透過哪些管道收看臺灣BL劇？他們持續收看BL劇的經驗為何？有／沒有伴侶經驗或是出櫃經驗的男同志，對於BL劇中伴侶和家人間的親密關係展現又有什麼樣的看法？為了更加了解臺灣男同志對於臺灣BL劇的看法，本篇研究方法透過立意抽樣來尋找有男同志身份認同並持續收看BL劇的閱聽人，並對17位受訪者進行了半結構式的線上深度訪談，訪談期間共舉行了兩場線上焦點團體深度訪談與八場的一對一線上深度訪談，並將每位受訪者的訪談內容根據研究問題進行編碼與內容整理，以便進行研究分析。在研究結果的部分，本研究梳理了泛BL化下男同志的多元路徑，並解釋了除了二次元文本之外，男同志如何透過三次元文本中的微電影、同志電影、網路劇和G片進而接觸到了BL相關文本，另外，透過社群平台和新聞媒體初次接觸到BL文本的受訪者，再次證實了BL已不再只侷限在腐圈流通，也說明了泛BL化下，BL進入大眾視野的可能性。在BL劇的伴侶關係中，沒有伴侶關係或同居經驗的受訪者除了有著對於愛情的憧憬與悸動之外，甚至會進一步對於家務分工以及家庭憧憬的未來有更多美好的想像，進而透過BL劇建構出對於伴侶關係同居和家庭的未來感。而在有伴侶關係的受訪者方面，則提到在角色人格、曖昧橋段以及戀愛關係上皆有與自身現實生活伴侶關係經驗的相似之處，甚至從中得到「回憶性愉悅」。在BL劇的家人親密關係中，家人（預期）不接受的親密關係受訪者表達對於出櫃的渴望，甚至從BL劇中看見以男同志的身份回家並被家人接納的橋段；不得不接受的家人親密關係的受訪者則提到，目前BL劇出櫃橋段再現方面，反對者大多都是以年長者居多，而年輕的角色大多都是支持主角的同志身分，另外在年長的反對者中，又以父親比起母親更難接受孩子喜歡同性的事實，與部分受訪者本身的出櫃經驗相異，也顯示出BL劇製作方是以異性戀正典下，代表典型陽剛氣質的男性作為反對主體，而忽略了個人經驗與成長背景。最後，受訪者也提到雖然臺灣BL劇早期發展的階段還未進入固定模板中，然而近期臺灣的BL劇呈現出的「同志友善社會烏托邦」，卻開始讓他們感覺到公式化，除了讓受訪者擔心會壓迫到「C／娘」文化下的陰柔男同志族群之外，更讓研究者反思後期BL劇產出也許已正式進入文化工業中描述對事物標準化發展的階段。

This study primarily focuses on Taiwanese BL dramas and the gay men who watch them, aiming to deepen and expand the understanding of male audiences in the three-dimensional world. The two main research questions explored in this study are: In the context of pan-BLization, through which channels do gay men watch Taiwanese BL dramas, and what are their continued viewing experiences? Additionally, how do gay men, with or without partner experience or coming-out experience, perceive the depiction of intimate relationships between partners and family members in BL dramas?This study employed purposive sampling to identify viewers who identify as gay and consistently watch BL dramas. Seventeen respondents participated in semi-structured online in-depth interviews, which included two online focus group discussions and eight one-on-one online in-depth interviews. The interview content was coded and organized according to the research questions for analysis.In the research results, this study outlines the diverse paths of gay men under pan-BLization and explains how, beyond two-dimensional texts, gay men access BL-related content through three-dimensional texts such as microfilms, gay films, web series, and G-porn. Additionally, respondents who first encountered BL texts through social platforms and news media further confirm that BL is no longer confined to circulation within the fujoshi community, highlighting the potential for BL to enter the public eye under pan-BLization.Regarding partner relationships in BL dramas, respondents without partner or cohabitation experience expressed not only a longing and excitement for love but also beautiful imaginings of future household chores and family life. They construct a future sense of partner relationships, cohabitation, and family through BL dramas. Respondents with partner relationships mentioned similarities between the characters' personalities, ambiguous scenes, and romantic relationships with their real-life partner experiences, gaining "nostalgic pleasure" from them.In terms of family intimate relationships depicted in BL dramas, respondents whose families (are expected to) do not accept their intimate relationships expressed a desire to come out and saw scenes in BL dramas where gay characters are accepted by their families. Respondents whose families have to accept their intimate relationships noted that, in current BL dramas, coming-out scenes often depict older family members as opponents, while younger characters mostly support the protagonist's gay identity. They also mentioned that fathers, rather than mothers, are typically less accepting of their children liking the same sex, differing from some respondents' own coming-out experiences. This indicates that BL drama producers often use heteronormative stereotypes, portraying traditionally masculine men as the main opponents, while overlooking individual experiences and backgrounds.Finally, respondents noted that although early Taiwanese BL dramas had not yet entered a fixed template, recent Taiwanese BL dramas depicting a"gay-friendly utopia" have started to feel formulaic. This raised concerns among respondents about the potential suppression of effeminate gay men under the "C/niang" culture. It also prompted researchers to reflect on whether the production of later BL dramas has entered the stage of standardized development described by cultural industries.