| 摘要: | 世界上第一部男同志電影《與眾不同》(李查歐斯沃德，1919)與第一部以女同志為主題的電影《穿制服的女孩》(李歐蒂妮莎岡，1931)皆誕生於1919至1933年威瑪共和時期的德國，因此威瑪影業開創了「同志電影」這個子文類，並豐富了「酷兒電影」這個大文類。本文介紹威瑪酷兒電影的四種風格典範與各類拍攝技巧與敘事策略。經由「從無聲到有聲」、「從無審（電影審查制度）到有審」，以及「從有字（標題字幕）到無字」等多個面向出發，本研究剖析威瑪男、女同志電影、恐怖電影以及同志導演穆瑙所執導的電影，闡述威瑪酷兒電影在形式風格、拍攝技巧與敘事策略上如何轉變、運用與發展以智鬥電影審查制度、承繼威瑪同志社會運動的使命、對抗德國保守勢力在政治、法律及宗教上對同志的壓迫，與創造威瑪電影藝術的新高峰。;The first gay film in the world, Different from the Others (Richard Oswald, 1919) and the first film adopting lesbianism as the main theme, Girls in Uniform (Leontine Sagan, 1931), were both born in the Weimar Republic of Germany from 1919 to 1933. Thus, Weimar Cinema invented the subgenres of “gay film” and "lesbian film," enriching the main genre of “queer cinema.” This paper introduces the four paradigms, various cinematic techniques and narrative strategies of Weimar Queer Cinema. Through the aspects: “from silent films to talkies,” “from the censorship-free status to the dominance of film censorship,” and “from films with inter-titles to films without inter-titles” and so on, this paper analyzes Weimar gay, lesbian and horror films as well as the films directed by F. W. Murnau. Furthermore, this paper illustrates how the paradigms, techniques and strategies of Weimar Queer Cinema were transformed to outwit Weimar censorship, to inherit the mission of the Weimar queer social movement, to fight against German conservative power’s political, juridical, and religious oppressions over the homosexuals, and to create a new artistic peak of Weimar Cinema. |
