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系統識別號 U0002-1702201118203500
中文論文名稱 閃爍非金(礦):『絲絨金礦』中的「原真忠實」與「挪移翻轉」
英文論文名稱 All Is Not Gold(mine) That Glitters: Authenticity and Appropriation in Velvet Goldmine
校院名稱 淡江大學
系所名稱(中) 英文學系碩士班
系所名稱(英) Department of English
學年度 99
學期 1
出版年 100
研究生中文姓名 陳恪文
研究生英文姓名 Ke-Wen Chen
學號 694010256
學位類別 碩士
語文別 英文
口試日期 2011-01-10
論文頁數 93頁
口試委員 指導教授-陳宜武
委員-錢欽昭
委員-吳佳琪
中文關鍵字 絲絨金礦  原真忠實  酷兒  身分認同  展演性  電影類型公式  刻板同志角色  懷舊  愛滋病  新酷兒電影 
英文關鍵字 Velvet Goldmine  Authenticity  Queer  Identity  Performative  Generic Convention  Gay Stereotype  Nostalgia  AIDS  New Queer Cinema 
學科別分類 學科別人文學語言文學
中文摘要 「原真忠實」一詞之含義影響我們對身分認同的理解與展演,故本論文欲以其概念閱讀並分析新酷兒電影《絲絨金礦》。
本論文試從電影類型公式、角色呈現、及歷史再現三方面來討論在《絲絨金礦》中「原真忠實」的概念是如何被挪移翻轉。導演陶德海尼斯大量挪用改寫主流電影敘事公式,藉以影響(或干擾)觀眾對電影敘事期待;導演翻修刻板同志角色,企圖藉刻板攻刻板;海尼斯更嘗試以非主流歷史觀點—愛滋病—回溯想像建構1970至1980年代之歷史場景。
如茱蒂斯巴特勒所言,異性戀霸權不斷地複製異性戀性別公式,並藉此宣稱其身份認同之(原)真(忠)實性,但其霸權結構所暴露的是異性戀身分認同並非是(原)真(忠)實的呈現,而是複製模仿「原真忠實」之概念。「原真忠實」的概念在《絲絨金礦》中不斷被翻轉挪移,就是要凸顯「原真忠實」是不停的展演公式,而非天生自然。若說主流(好萊塢)電影的敘事結構是依隨異性戀戀情發展而打造,則《絲絨金礦》以酷兒視角重新檢視與挪用公式,企圖呈現(新)酷兒(電影)敘事風格。

表單編號:ATRX-Q03-001-FM030-01
英文摘要 This present study attempts to read and analyze Velvet Goldmine, an exemplary work of New Queer Cinema, from notions of authenticity, as the word constantly has a hold over people’s constructing, making meaning, and performing of identities in everyday life.
Authenticity is approached from three perspectives in the study: genre, character and history. First of all, I argue that generic conventions appropriated and revised strategically in the film are made to negotiate with spectatorial expectations towards overall narrative authenticity. Gay stereotypes, particularly gay men as sad young men and androgyny, are circumscribed in the film; however, the director, Todd Haynes, does not contrive to show some atypical gay characters. On the contrary, he tries to revamp gay stereotypes with which mainstream audience has been familiarized all the while.
The AIDS pandemic drastically changes how identity and sexuality are to be comprehended by both the homosexual and the heterosexual after the outbreak of the pandemic in the 1980s. Nevertheless, the director does not intent to represent the past by reconstructing authentic historical scenes; rather, he contrives to restage the past through the cultural monument of the AIDS pandemic. Thereby, Haynes questions the ideal of retrieving historical authenticity throughout the film.
By appealing to naturalness, genuineness, and trustworthiness, the heteronormative thus claims it to be the authentic identity. However, as Judith Butler points out, it is by compulsorily reiterating heteronormative norms that the heterosexual assumes its authenticity, which is more apparent than real. The notion of authenticity negotiated and challenged throughout Velvet Goldmine is to argue that authenticity is not a natural given but a series of performative acts that incessantly take place.

表單編號:ATRX-Q03-001-FM031-01
論文目次 Table of Contents

Chapter 1 Introduction and a Theorization of Authenticity 1
I. Rethinking Authenticity 1
II. Authenticity and Cinematic Representation 3
a. Authenticity in Hollywood Cinema as Verisimilitude 3
b. Authenticity in Documentary as Truth Claim 5
III. Velvet Goldmine: Between In/Authenticity—Biography or Fiction? 7
a. Queering Genres 10
b. Queering Stereotypes 12
c. Queering History 14

Chapter 2 Generic Appropriation and Narrative Authenticity 16
I. How Genres Work 17
II. The Fact/Fiction Divide: Toying with Biographical Fact and Inventive Fiction 22
III. Musical and Queer Desires 27
IV. Filmic Reference and Appropriation of Narrative Mechanism 33
a. A Hard Day’s Night and Mockumentary 34
b. Ziggy Stardust and the Spiders from Mars and Direct Cinema 36
c. Citizen Kane and Mainstream Narrative Cinema Mechanism 38
V. Rethinking Genres 40

Chapter 3 Gay Character and Stereotypical Authenticity 42
I. How Stereotypes Work 42
II. Velvet Goldmine and Gay Stereotypes 47
a. The Portray of a Sad Young (Gay) Man 49
b. Androgynous Alien 54
III. Rethinking Stereotypes 59

Chapter 4 Nostalgia, Queer Storytelling and Historical Authenticity 61
I. Nostalgia and Representation of the Past 62
II. Nostalgic Memory, Queer Storytelling and AIDS 68
a. Nostalgia—Invoking Suppressed Memory 69
b. Nostalgia—Queer Childhood 73
c. Nostalgia—AIDS Pandemic and Death 76
III Rethinking Nostalgia 81

Chapter 5 Conclusion: Authenticity Revisited 85

Reference 89
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