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研究生(外文):Li-Chi Liu
論文名稱(外文):Make A Queer Turn to Negative Affect: A Self-Reflective Case Study of “As Closeted|The LGBT Feel-Bad Mini Film Festival”
指導教授(外文):Chun-Chi Wang
口試委員(外文):Hwa-Jen TsaiPei-Chih Lan
外文關鍵詞:homonormativityqueer negativityfilm festivaltongzhiqueer visibilityaffect alienscommunityfilm exhibition
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本研究主要受到海澀愛(Heather Love)、茱蒂斯‧哈柏斯坦(Judith Halberstam)和莎拉‧艾哈邁德(Sara Ahmed)等人的論述啟發,主張負面情感與衣櫃羞恥具有能動性,並透過策劃與實踐《親密衣櫃|同志負面情感迷你影展》,試圖強調負面情感在同志生命經驗中的重要性,並翻轉衣櫃羞恥為正面動能。


In the swirls of homonormativity that promotes marriage and family by sugarcoating it with the promise of happiness, the shame of the closet is often regarded as a blockage of the advocacy of tongzhi rights and a just society. However, negative affect prevails in tongzhi’s everyday life, and the killjoys, the abject counterpart of happy objects, are indeed parts of the tongzhi community.

Informed by queer theories of Heather Love, Judith Halberstam, and Sara Ahmed that consider bad feelings as the ground for personal and social transformation, the objective of my project is to reclaim tongzhi negative affect and to make a queer turn to tongzhi shame by curating a film festival titled “As Closeted|the LGBT Feel-Bad Mini Film Festival.”

The concept of retrograde is the central theme of my festival. In light of this, the programming is organized to represent a retrograde route that revisits the negative affectivity of tongzhi, and the way of exhibition is also retrograde as the chosen films are intentionally shown in a semi-private venue with a small group of people. This particular planning hopes, through watching films together, to foster a community founded upon sharing bad feelings so its members can feel a sense of being understood, connected, and supported among fellow audiences.

The self-reflective study of the film festival argues that a film festival is an effective way of grouping like-mined people to share, and there is a need of a feel-bad community as a support system that validates instead of denies negative feelings in which tongzhi affect aliens immerse.
Acknowledgements i
Abstract ii
Chinese Abstract iii

I. Curatorial Statement 1
A. Reclaiming Bad Feelings 1
B. Making the Film Festival a Ghetto 3
C. In Quest of a Supportive Community and Belonging 6

II. Literature Review 9
A. Be Gayer or Not 9
B. Let Darkness Remains Darkness 13
C. In/Out of the Tongzhi Closet 16

III. Film Selection 19
A. Call Me By Your Name 20
B. Moonlight 21
C. Blue is the Warmest Colour 22
D. Orchids: My Intersex Adventure 23

IV. An Analysis of “As Closeted|The LGBT Feel-Bad Mini Film Festival” 23
A. Curating Strategies 24
B. Self-Reflective Analysis 29

V. Conclusion 35

Works Cited 38
Appendix 45

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(8) Duggan, Lisa. “The New Homonormativity: The Sexual Politics of Neoliberalism.” Materializing Democracy: Toward a Revitalized Cultural Politics. Durham, N.C.: Duke University Press, 2002. 175-194. Print.
(9) Damm, Jens. “From Psychoanalysis to AIDS: The Early Contradictory Approaches to Gender and Sexuality and the Recourse to American Discourses During Taiwan’s Societal Transformation in the Early 1980s.” Perverse Taiwan. Ed. Howard Chiang and Yin Wang. London and New York: Routledge, 2017. 64-85. Print.
(10) Foucault, Michel. Discipline & Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Pantheon Books, 1977. Print.
(11) Galt, Rosalind, and Karl Schoonover. Global Art Cinema: New Theories and Histories. New York: Oxford University Press, 2010. Print.
(12) Halberstam, Judith. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York and London: New York University Press, 2005. Print.
(13) ---. The Queer Art of Failure. Durham: Duke University Press, 2011. Print.
(14) Love, Heather. Feeling Backward: Loss And the Politics of Queer History. London: Harvard University Press, 2007. Print.
(15) ---. "On the Politics of Emotion: Feeling Backward, Feeling Bad." Trans. Yu-Ping Zhang. Queer/Affect/Politics: Selected Essays by Heather Love. New Taipei City: Shen-Lou, 2012. 175-195. Print.
(16) Munt, Sally R. Queer Attachment: The Cultural Politics of Shame. Aldershot: Ashgate, 2008. Print.
(17) Perriam, Chris, and Darren Waldron. French and Spanish Queer Film: Audiences, Communities and Cultural Exchange. Edinburgh: Edinburgh University Press, 2016. Print.
(18) Richards, Stuart James. The Queer Film Festival: Popcorn and Politics. New York: Palgrave Macmillan, 2016. Print.
(19) Rubin, Gayle S. “Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality.” Culture, Society, and Sexuality: A Reader. Ed. Richard Parker and Peter Aggleton. London: UCL Press, 1999. 143-178. Print.
(20) Sedgwick, Eve Kosofsky. Epistemology of the Closet. Berkeley and Los Angeles: University of California Press, 1990. Print.
(21) Wang, Chun-Chi. “Market Visibility: The Development and Vicissitudes of Tongzhi Cinema in Taiwan.” Perverse Taiwan. Ed. Howard Chiang and Yin Wang. London and New York: Routledge, 2017. 161-182. Print.
(22) Zielinski, Ger. “On Studying Film Festival Ephemera: The Case of Queer Film Festivals and Archives of Feelings.” Film Festivals: History, Theory, Method, Practice. New York: Routledge, 2016. 138-158. Print.


(1) Chien, Tsu-Chieh. “From ‘Same Sex Marriage’ to ‘Pluralistic Family Arrangements’: The Legislative Movement for Democratic Intimate Relationship.” Taiwan Human Rights Journal 1.3 (2012): 187-201. Web. 24 Jan. 2018.
(2) Chu, Wei-Cheng. “Coming Out or Not: Postcolonial Autonomy and\Gay\Activism in Taiwan.” Taiwan: A Radical Quarterly in Social Sciences 30 (1998): 35-62. Print.
(3) Devesa, María, Andrea Báez, Victor Figueroa, and Luis César Herrero. “Factors Determining Attendance at a Film Festival.” Event Management 19 (2015): 317-330. Print.
(4) Dickson, Lesley-Ann. “‘Ah! Other Bodies!’: Embodied Spaces, Pleasures and Practices at Glasgow Film Festival.” Participations: Journal of Audience & Reception Studies 12.1 (2015): 703-724. Print.
(5) Fung, Richard. “Programming the Public.” GLQ: A Journal of Lesbian and Gay Studies 5.1 (1999): 89-93. Print.
(6) Hsu, Victoria Hsiu-Wen. “Colors of Rainbow, Shades of Family: The Road to Marriage Equality and Democratization of Intimacy in Taiwan.” Georgetown Journal of International Affairs 16.2 (2015): 154-164. Web. 5 May 2018.
(7) Kim, Jeongmin. "Queer Cultural Movements and Local Counterpublics of Sexuality: A Case of Seoul Queer Films and Videos Festival." Trans. Sunghee HONG. Inter-Asia Cultural Studies 8.4 (2007): 617-633. Print.
(8) Lin, Xian-Xiu. “Tongzhi Yun Dong De Wu Tou Gong An.” Stir 4 (1997): 62-66. Print.
(9) Love, Heather. “Compulsory Happiness and Queer Existence.” New Formations: A Journal of Culture/Theory/Politics 63 (2008): 52-64. Print.
(10) Rich, B. Ruby. “Collision, Catastrophe, Celebration: The Relationship Between Gay and Lesbian Film Festivals and Their Publics.” GLQ: A Journal of Lesbian and Gay Studies 5.1 (1999): 79-84. Print.

#Online Sources#

(1) Davies, Lyell. “Not Only Projections in a Dark Room: Theorizing Activist Film Festivals in the Lives of Campaigns and Social Movements.” Frames Cinema Journal. University of St Andrews and Contributors, 2018. Web. 4 Nov. 2018.
(2) “Introduction & History.” Women Make Waves Film Festival Taiwan. Taiwan Women’s Film Association & WMWFF, n.d. Web. 2 May 2017.
(3) “It-Gets-Better-Project.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc., n.d. Web. 12 Dec. 2018.
(4) Jia, Xuan-Ning. “The Answer of WMWFF in 23 Years: Shall We Feel Proud of Taiwan’s Gender Equality?.” Initium. Initium Media, 15 Nov. 2016. Web. 19 Mar. 2017.
(5) Lin, Jay. “2016 Foreword” Taiwan International Queer Film Festival. Taiwan International Media and Education Association, n.d. Web. 11 May 2017.
(6) Lin, Xin-Hong. “2017 Foreword From the Chairperson/Curator of TIQFF.” Taiwan International Queer Film Festival. Taiwan International Media and Education Association (TIMEA), n.d. Web. 18 May 2018.
(7) Man, Man-Shuo. "To Be Proud of Being Queer! An Interview of the Curator of TIQFF Jay Lin: Don’t Be Selfish But True to Yourself." Womany.net. Womany.net, 2 Oct. 2015. Web. 9 Mar. 2017.
(8) “Same-Sex Marriage.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc., n.d. Web. 12 Dec. 2018.
(9) “TIQFF 2015 Announcement: The 2nd Taiwan Queer Award Finalists Are Here!” Taiwan International Queer Film Festival. Taiwan International Media and Education Association (TIMEA), 14 Aug. 2015. Web. 11 May 2017.


(1) Jang, Chiau-Yu. “A Study of Gay Novels and Queer Novels on Erotic Writing (1960-2007).” Diss. Tamkang University, 2009. Print.
(2) Wu, Jui-Yuan. “As a ‘Bad’ Son: The Emergence of Modern Homosexuals in Taiwan.” Diss. National Central University, 1998. Print.
吳瑞元。〈孽子的印記:台灣近代男性[同性戀]的浮現 1970-1990〉。碩士論文,國立中央大學,1998年。


(1) Abuse of Weakness. Dir. Catherine Breillat. Perf. Isabelle Huppert and Kool Shen. Rézo Films, 2013. Film.
(2) A to Z:The Alphabet of Feeling Bad. Dir. Karin Michalski. Perf. Ann Cvetkovich. 2012. Film.
(3) Brokeback Mountain. Dir. Lee Ang. Perf. Jake Gyllenhaal and Heath Ledger. Focus Features, 2006. Film.
(4) Blue is the Warmest Colour. Dir. Abdellatif Kechiche. Perf. Léa Seydoux and Adèle Exarchopoulos. Wild Bunch, 2013. Film.
(5) Call Me By Your Name. Dir. Luca Guadagnino. Perf. Armie Hammer and Timothée Chalamet. Frenesy Film Company, 2017. Film.
(6) Moonlight. Dir. Barry Jenkins. Perf. Trevante Rhodes. A24, 2016. Film.
(7) Orchids: My Intersex Adventure. Dir. Phoebe Hart. Perf. Phoebe Hart. Hartflicker Moving Pictures, 2010. Films.
(8) Stonewall. Dir. Roland Emmerich. Perf. Jeremy Irvine and Jonny Beauchamp. Roadside Attractions, 2015. Film.
(9) Tomboy. Dir. Céline Sciamma. Perf. Zoé Héran. Hold Up Films, 2011. Films.
(10) Visible Silence. Dir. Ruth Gumnit. Marea Media. 2015. Film.

#Music Video#

We’re All Different, Yet the Same. Dir. Chi-Jan Hou. Perf. Jolin Tsai and Ruby Lin. Warner Music, 2014. Music Video.


Ordinary Love. Sanlih E-Television Inc., Taiwan, 2013. Television.
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