作者 ｜
呂筱渝（法國巴黎第八大學婦女與性別研究所）
摘要 ｜
本文使用文獻研究與圖像分析法，探討萬一一的攝影作品觸及的性別議題，包括女性特質、性別二元及性別階序、性別差異與性別的觀看權力等。本文首先引用英國女精神分析師 Joan Rivière 對女性特質的研究，說明一向被視為與生俱來的女性特質，其實是女性解除外來敵意與舒緩內心焦慮的方法，並援引Simone de Beauvoir 和 Luce Irigaray 的性別研究視角、Griselda Pollock 的女性藝術史觀點、人類學家 Louis Dumont 的階序格局，以及 Laura Mulvey 的觀看理論等，討論萬一一作品中呈現的性別議題。
在圖像分析方面，萬一一的《壓抑？釋放？》攝影集透過多種象徵、隱喻等影像修辭，嘲諷並諧擬宗法父權社會中男尊女卑的性別處境；她也以自我扮裝與自拍的《女正男酷》攝影集系列作品，做為回應此一性別處境的策略：以攝影中的觀看問題討論性別的主動、被動位置，並藉由諧擬被攝者的受迫姿態，凸顯女性特質的後天文化成因，與其背後不斷運作的性別權力關係，傳達女性身體訊息的意念，探索女性身體歡愉的企圖。萬一一以影像創作對抗男性話語權的策略，再現當今社會文化慣於將女性物化、標籤化為性別「他者」的壓迫現象，不但讓女性承受的歧視與壓抑能如實呈現，也為台灣沉寂許久的女性主義藝術平添精彩的一章。
關鍵字 ｜
女性特質、性別差異、扮裝、諧擬、針孔攝影
Title ｜
Gender Difference and Its Discontents: A Brief Analysis of Yiyi Wan’s Masquerade Photography
Author ｜
Hsiao-Yu Lu( Women’s and Gender Studies University Paris 8)
Abstract ｜
This research adopts literature research and image analysis to review gender and sexual issues reflected in Wan Yiyi’s photographic works of art, including issues of womanliness, the binary nature of gender, gender hierarchy, gender differences, and differing observation rights of the genders. First, the research cites the studies on womanliness made by English psychoanalyst Joan Rivière to illustrate that the portrayal of womanliness that used to be deemed female innate attributes actually constitutes a way for women to relieve external hostility and internal anxiety. The research also utilizes the gender research perspectives of Simone de Beauvoir and Luce Irigaray, Griselda Pollock’s perspective of female art history, Louis Dumont’s gender hierarchy, and Laura Mulvey’s viewing theories to discuss the gender-related issues within Wan Yiyi’s works of art. In terms of image analysis, Wan Yiyi’s “Repression? Release?” photographic album uses many forms of symbolism and metaphors to ridicule the male machismo of patriarchal societies. Through her selfmasquerade and self-portrait series “Wowoman & Yesman”, Wan provides a strategic response to the situation: depicting the active and passive gender positions; using photographic simulation of the suppressed to illustrate the features of “womanliness” forced by the cultural environment; portraying the on-going power relationships; and illustrating the meaning as well as the joyous intention of the female body. Wan Yiyi’s strategy in resisting male superiority illustrates how modern culture has objectified woman and labeled woman as the suppressed “other” gender. Not only does it crystalize the discrimination and suppression that women must bear, but it also adds a brilliant chapter to Taiwan’s feminist movement.
Keywords ｜
femininity, sexual difference, masquerade, mimicry, pinhole camera