放映抵抗 ：新加坡影片中的酷儿化战术 = Screening resistance : queering as a tactic in Singapore films

随着越来越多的新加坡酷儿以及酷儿文化产品受到关注, 台面上官方与酷儿之间矛盾的缺席, 以及台面下两者在制作文化产品过程中看似合作的关系, 使新加坡的酷儿容易被认为安于现状, 且缺乏抵抗性. 然而这一看法当中存在着值得质疑的几点: 官方是否不再对酷儿实施压迫? 酷儿在这段关系中只能够处于被支配的位置吗? 那么要如何看待文化产品中与官方话语存异甚至挑战正典的元素? 本论文梳理了官方话语对于酷儿的论述与管制, 酷儿文化在此语境中的发展与酷儿的位置, 并以酷儿导演巫俊锋, 陈敬音与罗子涵的作品为个案, 探讨酷儿文化产品中所具有的酷儿性如何反抗官方话语的霸. 文中研究的三位酷儿导演的作品中, 通过将 "身体", "空间", "时间" 三大符号酷儿化, 借此酷儿性动摇官方的稳固霸权, 抵抗官方话语. 这些影片拒绝甚至挑战官方话语, 是酷儿导演在文化产品制作过程中能动性的体现, 更暗示了本地酷儿文化隐藏着有待发掘的独特性. In Singapore, as more and more Queers and Queer cultural products gain prominence, the lack of conflict between the State and Queer in public, and their seemingly harmonized partnership behind the scenes of cultural production, have resulted in the quick judgment of Queers being comfortable in the status quo and thus lack resistance. However such judgment poses some interesting question: The State no longer oppresses Queers? Queers could only occupy a passive position in this relationship? How do we take into consideration the elements in cultural products that resist or even challenge the State? This Research has combed through the State's discourse and governance towards Queer, the development of Queer culture and the stance of Queers, and using films produced by Queer filmmakers, Boo Junfeng, Kirsten Tan and Loo Zihan as case studies, to understand how Queerness within cultural products resists the State’s discourse. The films analyzed within this research, through queering the three major symbols: "Body", "Space" and "Time", disrupts the State’s originally stable hegemony, resisting the State's discourse. This proves the agency that these Queer filmmakers possess in cultural production, and more importantly hints at the uniqueness within local Queer culture that is still waiting to be discovered.Master of Art