淡江大學覺生紀念圖書館 (TKU Library)

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
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》。

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.

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
參考文獻 Reference
Aaron, Michele, ed. New Queer Cinema: A reader. New Brunswick: Rutgers University Press, 2004.
---. “New Queer Cinema: An Introduction” Aaron 3-14.
Altman, Rick. Film/Genre. London: BIF, 1999.
Arroyo, Jose. “Death, Desire and Identity: The Political Unconscious of ‘New Queer Cinema’.” Bristow and Wilson 70-96.
Beattie, Keith. Documentary Screens: Non-Fiction Film and Television. New York: Palgrave Macmillan, 2004.
Beemyn, Brett and Erich Steinman, eds. Bisexual Men in Culture and Society. New York: Harrington Park Press, 2001.
Benshoff, Harry. “The Monster and the Homosexual.” Benshoff and Griffin 63-74.
Benshoff, Harry and Sean Griffin, eds. Queer Cinema: The Film Reader. New York: Routledge, 2004.
---, eds. Queer Images: A History of Gay and Lesbian Film in America. Lenham: Rowwan & Littlefield, 2006.
Bergman, David, ed. Camp Grounds: Style and Homosexuality. Amherst: University of Massachusetts Press, 1993.
Bersani, Leo. Homos. Cambridge: Harvard University Press, 1995.
Bordwell, David and Kristin Thompson. Film Art: An Introduction. Sixth ed. New York: McGraw-Hill, 2001.
Bristow, Joseph and Angelia R. Wilson, eds. Activating Theory: Lesbian, Gay, Bisexual politics. London: Lawrence & Wishart, 1993.
Bruzzi, Stella. Undressing Cinema: Clothing and Identity in the Movies. London: Routledge, 1997.
Butler, Judith. Bodies That Matters: On the Discursive Limits of “Sex”. New York: Routledge, 1993.
---. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1999.
---. “Variations on Sex and Gender: Beauvoir, Wittig, Foucault.” Salih 21-38.
---. “Imitation and Gender Insubordination.” Salih 119-37.
Cagle, Van M. Reconstruction Pop/Subculture: Art, Rock, and Andy Warhol. Thousand Oaks: Sage, 1995.
Cleto, Fabio, ed. Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: Michigan University Press, 1999.
---. “Introdution: Queering the Camp.” Cleto 1-42.
Cline, Rich. “Velvet Goldmine.” n. pag. Web. 22 Nov. 2007. .
Cohan, Steven and Ina Rae Hark, eds. Screening the Male: Exploring Masculinities in Hollywood. New York: Routledge, 1993.
Cook, Pam. Screening the Past: Memory and Nostalgia in Cinema. London: Routledge, 2005.
Core, Philip. “From Camp: The Lie that Tells the Truth.” Cleto 80-6.
Dalton, Stephen. “Scary Monsters, Super Freaks.” Uncut (1998): n. pag. Web. 22 Nov. 2007. .
Davies, Jon. “Nurtured in Darkness: Queer Childhood in the Films of Todd Haynes.” Morrison 57-67.
Davis, Glyn. “Taming Oscar Wilde: Queerness, Heritage and Stardom.” Griffiths 195-206.
Davis, Jude and Carol R. Smith. Gender, Ethnicity and Sexuality in Contemporary American Film. Edinburgh: Keele University Press, 1997.
Davis, Nick. “The Invention of a People: Velvet Goldmine and the Unburying of Queer Desire.” Morrison 88-100.
DeAngelis, Michael. “The Characteristics of New Queer Filmmaking: Case Study- Todd Haynes.” Aaron 41-52.
Dollimore, Jonatha. “Post/Modern: On the Gay Sensibility, or the Pervert’s Revenge on Authenticity.” Cleto 221-36.
Durham, Meenakshi Gigi and Douglas M. Kellner, eds. Media and Cultural Studies: Keyworks. Massachusetts: Blackwell, 2001.
Dyer, Richard. The Matter of Images. 2nd ed. London: Routledge, 2002a.
---. The Culture of Queers. London: Routledge, 2002b.
---. Heavenly Bodies: Film Stars and Society. 2nd ed. London: Routledge, 2004.
Epstein, Julia and Kristina Straub, eds. Body Guards: The Cultural Politics of Gender Ambiguity. New York& London: Routledge, 1991.
Easthope, Antony. Ed. Contemporary Film Theory. London: Longman, 1993.
Farmer, Brett. “Queer Negotiations of the Hollywood Musical.” Benshoff and Griffin 75-87.
Frith, Simon. Sound Effects: Youth, Leisure, and the Politics of Rock ‘n’ Roll. New York: Pantheon Book, 1981.
Geyrhalter, Thomas. “Effeminacy, Camp and Sexual Subversion in Rock: The Cure and Suede.” Popular Music 15 (1996): 217-24. Web. 7 Oct. 2007.
< http://www.jstor.org>.
Griffiths, Robin, ed. British Queer Cinema. London: Routledge, 2006.
Hall, Stuart, and Tony Jefferson, eds. Resistance Through Rituals: Youth Subcultures in Post-War Britain. London: Routledge, 1993.
Harris, Daniel. The Rise and Fall of Gay Culture. New York: Hyperion, 1997.
Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 2001.
Hilderbrand, Lucas. “Mediating Queer Boyhood: Dottie Gets Spanked.” Morrison 42-56.
Hill, John and Pamela Church Gibson, eds. Film Studies: Critical Approaches. New York: Oxford University Press, 2000.
Jagose, Annamarie. Queer Theory: An Introduction. New York: New Yor University Press, 1996.
Jameson, Fredric. “Postmodernism, or the Late Cultural Logic of Late Capitalism.” Durham and Kellner 550-87.
Jones, Simon. “Style, Fashion and Symbolic Creativity.” Willis 84-97.
Juhasz, Alexandra. “From the Scenes of Queens: Genre, AIDS and Queer Love.” Morrison 156-74.
Krach, Aaron. “Stardust Memories: Todd Haynes Recreates the Velvet Revolution.” The Independent Film and Video Monthly (1998): n. pag. Web. 22 Nov. 2007. .
Landy, Marcia. “Storytelling and Information in Todd Haynes’ Films.” Morrison 7-24.
Leblanc, Lauraine. Pretty in Punk: Girls’ Gender Resistance in A Boys’ Subculture. New Brunswick: Rutgers University Press, 1999.
Mayshark, Jesse Fox. Post-Pop Cinema: The Searching for Meaning in New American Film. Westport: Greenwood eBooks, 2007. Greenwood eBooks. Web. 26 May 2009. .
Meyer, Moe. “Reclaiming the Discourse of Camp.” Benshoff and Griffin137-150.
Morrison, James, ed. The Cinema of Todd Haynes: All That Heaven Allows. London: Wallflower Press, 2007.
---. “Todd Haynes in Theory and Practice.” Morrison 132-144.
Neale, Steve. Genre and Hollywood. London: Routledge, 2000.
---. “Masculinity as Spetacle: Reflections on Men and Mainstream Cinema.” Cohan and Hark 9-20.
Newton, Esther. “Role Models.” Mother Camp: Female Impersonators in America. Chicago: Chicago UP, 1972, 1979. 97-111.
Nichols, Bill. “Getting to Know You…: Knowledge, Power, and the Body.” Renov 174-191.
Pearl, Monica B. “AIDS and New Queer Cinema.” Aaron 23-35.
Phipps, Keith. “An Interview with Director Todd Haynes.” The Onion (1999): n. pag. Web. 22 Nov. 2007. .
Pick, Anat. “Todd Haynes’ Melodramas of Abstraction.” Morrison 145-155.
Renov, Michael, ed. Theorizing Documentary. New York: Routledge, 1993.
Rich, B. Ruby. “New Queer Cinema.” Aaron 15-22.
Salih, Sara, ed. The Judith Butler Reader. Oxford: Blackwell, 2004.
Schippers, Mimi. “The Social Organization of Sexuality and Gender in Alternative Hard Rock: An Analysis of Intersectionality.” Gender and Society 14 (2000): 747-64. Web. 27 Oct. 2007. .
Stam, Robert. Film Theory: An Introduction. Malden: Blackwell, 2000.
Stam, Robert and Toby Miller, eds. A Companion to Film Theory. Malden: Blackwell, 2004.
Stephens, Chuck. “Gentlemen Prefer Haynes.” Film Comment (1995): 76-80. Web. 22 Nov. 2007. .
Stryker, Susan and Stephen Whittle, eds. The Transgender Studies Reader. New York: Routledge, 2006.
Tatara, Paul. “Velvet Goldmine Sinks Like Glam Rock” CNN (1998): n. pag. Web. 22 Nov. 2007. .
Thompson, Ben. “Stop! Glamour Time.” Neon (1998): n. pag. Web. 22 Nov. 2007. .
Willis, Paul, ed. Common Culture: Symbolic Work at Play in the Everyday Cultures of the Young. Boulder: Westview Press, 1990.
Wyatt, Justin. “Cinematic/Sexual: An Interview with Todd Haynes.” Film Quarterly, 46 (1993): n. pag. Web. 22 Nov. 2007. .
“Glitter Gulch: Director Todd Haynes and Cinematographer Maryse Alberti Trace the Rise and Fall of a Glam-Rock Enigma.” American Cinematographer (1998): n. pag. Web. 22 Nov. 2007. .
A Hard Day’s Night. Dir. Richard Lester. Perf. John Lennon, Paul McCartney, George Harrison, and Ringo Star. Proscenium Films, 1964. DVD. Miramax, 1999.
Citizen Kane. Dir. Orson Wells. Perf. Orson Wells, Dorothy Comingore, Joseph Cotton, and Everett Sloane. RKO, 1941.
Velvet Goldmine. Dir. Todd Haynes. Perf. Ewan McGregor, Jonathan Rhys Meyers, and Christian Bale. Miramax, 1998. DVD. Buena Vista Home Entertainment, 1999.
Ziggy Stardust and the Spiders from Mars. Dir. D.A. Pennebacker. Jones/Tintoretto Entertainment, 1973. DVD. EMI. 2003.
  • 同意紙本無償授權給館內讀者為學術之目的重製使用,於2011-03-01公開。
  • 同意授權瀏覽/列印電子全文服務,於2011-03-01起公開。

  • 若您有任何疑問,請與我們聯絡!
    圖書館: 請來電 (02)2621-5656 轉 2281 或 來信