臺灣博碩士論文加值系統

一九七五年蘿拉‧莫薇發表〈視覺快感與敘事電影〉，她指出好萊塢電影中的觀看快感是男性的專利。此後，女性主義者便群起探究有關電影與女性觀眾的關係。這些學者藉著不同的電影，洞察有關女性觀眾主體的相關議題。然而，他們所討論的電影卻侷限於幾種充斥女性主義意識的電影類型，如四○年代的女性電影或恐怖電影。本論文將探討扮裝電影，這個為數眾多但卻未被討論的電影類型，與女性觀看主體之間的關係。藉著電影中的扮裝者來重新思考幾個有關女性觀眾主體性的議題。
論文第一章精簡回顧好萊塢的扮裝電影，不同的時代，其男、女或黑、白扮裝的形象與功用各有不同。這個現象一方面顯示了社會及文化的變遷；另一方面，某個時代中扮裝者的刻板形象卻也反映出電影機制控制了觀眾的選擇。本章接下來回顧各家有關女性觀眾主體性的論述，並討論他們的貢獻與侷限。女性觀眾主體性的相關議題，包括「男性觀看」、「視覺快感」、「性別主體」、「心理認同」都是回顧的重點。
本論文以精神分析為理論的架構，第二章闡釋佛洛依德與拉崗式的精神分析跟女性主義、後殖民主義以及女性觀眾主體論述的關係。前二個部份說明佛洛伊德的性/別理論，拉崗的鏡像理論及象徵期中的陽物及父親法則，因為這些理論不僅被廣泛地運用，並且影響後來的學者甚遠。本章的第三部份處理有關精神分析在女性觀眾主體論述的應用。接下的第四部分除了探討巴特勒所提出的性別表演與宣成性，以及她是如何地重新解讀拉崗父權式的理論之外，我將試著分析巴特勒的理論應用在女性觀眾主體性的可能性。本章最後探討後殖民主義學者，如法農跟巴巴，如何巧妙地將精神分析運用在後殖民的情境中，並藉此討論有關（黑人）女性觀眾主體性的議題。
論文第三章討論《窈窕淑男》（1982) 。在這部電影中，達斯汀霍夫曼所飾演的麥克一角為了要謀得生計而扮成一位女人。除了劇情的討論之外，主體形成的複雜性、女性特質的呈現、性別的宣成性是如何地影響女性觀眾都是討論的重點。另外，包括剪接及特寫鏡頭這些電影語言也將一併討論。藉著以上的分析可看出女性觀眾主體與性別主體其相似之處，而巴特勒的性別宣成性理論也可以被適當地運用在女性觀眾主體的宣成性。
論文第四章分析《大亨也瘋狂》（1996) 。 由琥碧戈博所扮演的蘿拉是個華爾街上的財務分析師。為了求得生存，蘿拉先虛構出一個白人男性，然後再自己變裝成這位白人男性。本部影片描繪出白人男性與黑人女性間含混的情結。白人殖民者對黑色被殖民者的操控也被複製到由白人控制的好萊塢電影機制中。只有像琥碧戈博，一個不僅本身具有，也不斷地被塑造成擁有男/女性及白/黑色的黑人女性，才能為（黑人）女性觀眾主體發聲。
第五章除了總結前述四章的分析之外，有關討論女性觀眾主體性所遭遇到的問題（如理論框架與資料的取得）以及未來可能的方向（如加入歷史或政治層次的探討）也會加以說明。本論文希冀藉著不同議題的探討及分析，對女性觀眾主體性論述注入另樣的關點。

Ever since Laura Mulvey published in 1975 “Visual Pleasure and Narrative Cinema,” singling out the spectatorship in classical Hollywood cinema as mainly masculine, an increasing number of feminists have directed our attention to female spectatorship in the cinema. These critics offer insightful readings of various films in terms of spectatorship. However, their selection of film genre tends to be limited to certain categories with explicit feminist concerns. To remedy the situation, I propose to rethink female spectatorship, with concentration on the subject of gender identity in transvestite films.
The introductory chapter opens with a succinct review of cross-dressing in Hollywood cinema. I take notice of various images and functions of transvestism in different time period. On the one hand, the above phenomenon points out the change in the society and culture. While on the other hand, the stereotyped filmic transvestites of a certain time period show the domination of the cinema mechanism on the audience. Following this is the review of contemporary scholarship on female spectatorship and the analysis of their strengths and limitations. Issues such as “male gaze,” “visual pleasure,” “gender identity” and “psychic structure of identification” will be highlighted. The studying points will be recent findings of Mary Ann Doane, Miriam Hansen, E. Ann Kaplan, Judith Mayne, Tania Modleski, and Laura Mulvey.
Drawing on psychoanalysis as the theoretical frame, Chapter Two explores how Freudian and Lacanian psychoanalysis are applied to feminism, post-colonialism and female spectatorship. I shall take issue with Freud''s theory of sexuality based on his essays “Female Sexuality” (1931) and “Femininity” (1933). Then, go on to discuss Lacan’s theory of the mirror stage and the idea of Phallus in the Symbolic. For it is the basis of many feminist film theorists'' work. The third part further treats how Lacanian theory is adopted in feminism and female spectatorship. In the fourth part, I would discuss Judith Butler''s studies in gender performance and her provocative re-reading of Lacan''s theory. There I shall elaborate on ways in which Butler may contribute to a more complex understanding of female spectatorship. Finally, I will examine the application of Lacan''s theory in the colonial context, especially in Frantz Fanon and Homi Bhabha''s work, and its relation to black female spectatorship.
Chapter Three is devoted to Tootsie (1982). In this male transvestite film, Michael (Dustin Hoffman) plays an actress in order to make a living. Here the attention will be on such issues as the complexity of identity formation, the representation of femininity and the performativity of gender in the film. Several technical aspects will also be considered, for example, the close-ups and the sequencing. Deducing from the above analysis, I regard the relationship between filmic transvestism and female spectators as performative and constructed.
Chapter Four will consider The Associate (1996). In the film, Lauryl Ayres (Whoopi Goldberg), who cross-dressed as a white male, deploys her trickery art to survive in the male dominated business world. In addition to pointing out the ambivalence between black women and white men and the domination of the white in the colonial context as well as in the cinema, I will pay careful attention to Whoopi Goldberg. She plays and overturns masculine and feminine codes in order to make the film at once funny and provocative. Departed from the stifling conventions of femininity and gender in the roles she plays in The Associate, Whoopi Goldberg can be said literally to embody Judith Butler''s “gender trouble.”
The conclusion chapter summarizes the discussion in other four chapters. I will also state the difficulties, such as the theoretical frame and the obtainment of related materials, and new approaches to study female spectatorship, such as historical and political approaches. In reviewing and rethinking the various topics in filmic transvestites, I expect to shade a different light on female spectatorship theory.

Chapter OneIntroduction1
Chapter TwoFreudian and Lacanian Psychoanalysis
in Feminism, Postcolonialism and Female Spectatorship18
I. Femininity and Masculinity in Freud’s Theory of Sexuality19
II. Identity Formation and the Phallus in the Symbolic
in Lacanian Psychoanalysis21
III. Psychoanalysis and Female Spectatorship24
IV. Lacanian Psychoanalysis and Butler''s Gender Performance28
V. Psychoanalysis in Colonial Discourse
and Black Female Specatorship32
Chapter Three Tootsie (1982): He''s Miss Dorothy Michaels;
She''s Mr. Michael Dorsey37
I. Is Michael a Feminist, a Transvestite or a Gender Performer?38
II. Homopobia vs. Heterosexual Anxiety49
III. Female Spectatorship as Performance51
Chapter Four The Associate (1996): Black Skin, White Mask 58
I. Transvestism as a Way to Approximate One''s Ideal Self59
II. In the Name of Cutty?63
III. Almost the Same, But Not Quite/White:
the Black Woman in Masquerade65
IV. The Identity Formation of the Black Female Spectator70
V. Stereotype, Looking Relation, and Female Spectatorship73
Chapter Five Conclusion81
Works Cited86
The Appendix93

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