閱讀「蔡依林」——流行音樂的性／別形象展演與地緣政治解讀

Abstract

本研究以性／別研究為主要關懷分析蔡依林的形象策略與影音文本，藉文化研究與流行文化地緣政治的視野討論以蔡依林為案例的流行音樂文本，將其視為反映臺灣的社會文化脈絡之憑藉，並針對其中的性／別策略深入討論，分析其展演與作品如何承載或影響異質閱聽眾的性／別與地緣想像。 本研究首先概述蔡依林的演藝生涯，指出「失敗」、「舞蹈」、「地才」、「性／別關懷」、「愛自己」等關鍵形象如何在其生涯的不同階段形成並與既存形象共同建構「新的『蔡依林』」，並指認因強調「成／敗」而生的「做自己」號召可能在賦權弱勢的同時，隱然再製了對於「成功」女性的定義並肯認著自我身體改造的實踐方式。繼而分析蔡依林形象與作品，討論蔡依林的「扮裝」、「敢曝」、「惡女」、「自我」、「同志女神」等性／別展演策略與形象建構在展演多樣「女性」姿態的同時，也藉由MV影像體現和再現關於性／別的抽象討論，記錄並回應當代臺灣的性／別想像。然而，儘管其展演能號召並賦權部分閱聽眾，對於無法認知或肯認其策略意圖的閱聽眾而言，依然是再製既有認知的文本，未必總是具顛覆性。最後聚焦於中臺之間的流行文化地緣政治，討論蔡依林面對異質的政治認同與文化脈絡如何因地制宜地調整展演內容與形象策略，並以中國網友開創的「淋文化」為例，探討該文化現象中環繞著「蔡依林」而生的「蕩婦羞辱」、女體凝視等刻板的性／別實踐如何體現女性弱勢的社會現況。 總體而言，本研究主張蔡依林的形象與展演藉由各式性／別展演策略嘗試挑戰既有的性／別認知。透過流行文化商品的特性，傳播其衝擊既有性／別認知的意圖，也因其展演與作品的跨國流動擴大了這些影響，同時承載並記錄了當代臺灣的性／別意識與流行文化發展。

The research is mainly for analyzing the image strategies and audio visual works with gender studies, cultural studies, and geopolitics perspectives. Taking “Jolin Tsai” as text that reflects Taiwanese social and cultural contexts, I focused on the gender strategies by analyzing how the performances carry or influence the gender and geopolitics imaginations of heterogeneous audiences. In the second chapter, I made the overview of Jolin’s entertainment career, identifying that how the core images like “Failure”, “Dance”, “Di Cai”, “Gender”, and “Love Yourself” appeared and combined with those existed images of Jolin. Also, I pointed out calling for “Love yourself” emphasizing “Success/Failure” ideology might empower the underprivileged but at the same time reproduce the definitions of “successful” female and recognize the practice of body modification. In the third chapter, I analyzed the gender elements in Jolin’s images and works with gender performance strategies like “Masquerade”, “Camp”, “Enu”, “Self”, and “Goddess of the Homosexual”. Since Jolin embodied and represented the abstract concepts of gender imaginations by the music videos and gender strategies, for audiences who couldn’t or didn’t recognize the strategies, those videos still reproduced existed gender ideologies. In the fourth chapter, I focused on the Popular Geopolitics between Taiwan and China. I discussed how Jolin Tsai regulated the contents of performances and images for heterogeneous politics identities and cultural contexts. Also, I took “Lin Culture” created by Chinese netizens as example to see how females were “slut-shamed” and gazed with gender stereotype. To sum up, Jolin Tsai tried to challenge existed gender imaginations by several gender performance strategies and images building, spread the influences by the attributes of popular cultural products, and by the same time carried and recorded the gender imaginations and popular culture development of contemporary Taiwan.