出閨閣記 — 略論戰後臺灣影視中的女性(1950-2020)

초록

This paper examines the relationship between women and family in Taiwanese film and television productions from 1950 to 2020, using three popular contemporary terms and concepts: ‘madwoman’, ‘leftover woman’ and ‘ordinary woman’ to rethink public cultural practice in Taiwan’s gender equality. “Eighteen Years of a Madwoman(瘋女十八年)” is based on social events from the Japanese colonial period to the early postwar period. It has become a perennial topic and text in Taiwanese society after it was made into a film. The women in this group have to rely on their families for protection, and once they are excluded from their families, they are alienated into “madwomen” without personality. With the rapid industrialization of society since the 1970s, the texts of Qiong Yao(瓊瑤) have become popular. who portrayed love as the guarantee of marriage and family happiness, followed by Liao Huiying’s(廖輝英) novels and films in the 1980s, which questioned the necessity of marriage with the theme of urban women’s growth. Then, from the 1990s into the early 21st century, Taiwanese film and television texts explored the anxieties of female characters about their marriages and love affairs. By the time The Making of an Ordinary Woman is released in 2019, women will have been transformed from each and every ethical ‘lady’ into the popular and universal ‘secular woman’, regaining the path and power of self-recognition for women. From now on, love is self-knowledge and a woman who knows herself can walk the path of the ordinary woman with integrity, truthfulness, courage and strength of the ordinary woman.

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