美貌文化下「新」男性氣概：媒體再現與男性認同

楊睿愷 / 張玉佩

「美型男」成為偶像劇的主流論述，再現美貌文化下所形塑的男性外貌，「新男性氣概」在大眾文化與消費社會的產製下於焉而生。本研究藉由媒介分析與深度訪談，以「新男性氣概」為切入點，探討（一）電視劇再現男性氣概的轉變，釐清電視劇裝扮男主角的「美貌」外型之時，其內在行動的塑造對於突破父權社會意識型態的影響與限制；（二）男性閱\聽人解讀電視劇男性角色的文化消費意義，以及使用或排拒男性商品展現新男性氣概的身體實踐與認同形構。大眾媒體美貌文化操作，讓男性閱\聽人陷入新男性氣概與霸權男性氣概的糾
葛，導致男性反思新男人價值陷入兩難，也面臨規訓外在的心理壓力。本研究結果：（一）透過符號學分析，剖析台灣電視劇發展的歷史軌跡，再現男主角外型的變革，與基於霸權男性氣概形塑內在所產生的異同，以及流行文化建構男性性別理想與新男性氣概的論述；（二）電視劇的男性閱\聽人，內心雖正常化文本產製「美型男」的劇變，卻多認同或深受霸權男性氣概壓迫所箝制，「鄙娘」、「恐同」使他們無法正視男性可以發展的多元面向，成為父權制度的魁儡，進而沒有能動性推翻霸權男性氣概築起的高牆，男性思維從潛移默化對於「融入女性特質的新男性氣概」之接受度，到轉換為實踐行為，似乎路迢迢且多險阻。

“Beautiful men” has become the main discourse of new drama’s texts. They represent men’s appearance under beautiful culture. “New masculinities” is constructed by mass culture and consume society. The research is based on texts analysis and deep interview, studying on “New masculinities"Because of the beautiful culture representing in mass media, male audiences fall
into the dilemma between new masculinities and hegemonic masculinity. They not only need to rethink about the value of new men, but also face the pressure of disciplining bodies.
The study explains two results: one is through semiotics analysis, analyze how is the difference between representing the male roles’ appearance, new masculinities,hegemonic masculinity, and ideal role in old and new drama. Another is that, although male audiences normalize the emergence of beautiful men, they still identify or suffer from hegemonic masculinity. “Disdaining of female characteristics” and “homophobia” let them not face the multiplicity of male. They don’t have agency to overthrow the tall wall constructing by hegemonic masculinity. From the acceptance
of female characteristics in new masculinities at heart to practice and taking action,males have a lone way to overcome.

男性氣概、男性認同、偶像劇、媒體再現

“New” masculinities in beautiful culture:the media representation and male identity

2010.07.05

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美貌文化下「新」男性氣概：媒體再現與男性認同.pdf