1998年迪士尼推出動畫長片《花木蘭》獲得好評。《花木蘭》改編自北朝樂府〈木蘭辭〉的口傳故事，一舉將木蘭代父從軍的傳說化為全球家喻戶曉的故事。本研究認為，以美國1990年代女性主義與性別意識之發展而言，迪士尼的《花木蘭》搭上了「女孩力量」的運動，強調為少女賦權，以一個充滿機智與勇氣的女主角，為迪士尼添增性別意識進步的光環。同時，《花木蘭》也透過影片中大量的扮裝場景，與性別氣質之探索，和同時期的巴特勒的性別表演理論有所呼應。然本研究認為迪士尼的《花木蘭》在標榜性別進步意識的同時，最終還是回歸到社會的性別規範，未再對於「被建構」的性別有所突破與衝擊，甚至轉為更倒退保守的性別意識。另一方面，迪士尼所呈現的扮裝表演，其背後也有著東方主義與盧戈內斯指出的性別殖民性。本研究將回過頭來檢視木蘭故事原型─中國樂府〈木蘭辭〉，作為文學文本中的扮裝現象，以回顧前現代性中的性別與文化意義的討論，以及因為扮裝而刺激的性別越界之想像。;In 1998, Disney released the animated feature Mulan. Adapted from “The Ballad of Mulan”, from the collection of Yuefu of the Northern dynasties in China, has since globally popularized the story of a young girl who pretends to be a man to fight in a war for her old father. In terms of the development of popular feminism in the 1990s, Disney′s Mulan caught on with the Girl Power movement, which claims to empower teen girls. Meanwhile, the movement is contemporaneous with Judith Butler′s gender performativity theory, which has been popularized throughout the 1990s. In this thesis, I argue that Disney′s Mulan, while appeals to progressive gender consciousness, turns out to fall in line with gender norms in the end, and is arguably even more reactionary. Meanwhile, I argue that there is orientalism and what Maria Lugones calls “The Coloniality of Gender” in Mulan. The thesis will re-examine the text of “The Ballad of Mulan” and explore the significance of cross-dressing in pre-modern times to open a discussion for gender crossing.
