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後—新酷兒電影中的酷兒再現

為了解決Oxford Happiness Que的問題，作者Hamana Heloise 這樣論述：

It took a long time for queer representation to come to where it is in today’s films. Queer films have become more and more mainstream since the 1990’s. After several tumultuous fights, queer films were finally able to reach today's availability and popularity. The arrival of New Queer Cinema paved

the way and created many bridges for contemporary queer films. However, representations of some groups of the LGBT community are still overlooked or misrepresented. In other words, although queer films are becoming more accessible, it doesn’t necessarily mean that it shows a positive progress of s

ociety. However, representations of some groups of the LGBT community are still overlooked or misrepresented. In other words, although queer films are becoming more accessible, it doesn’t necessarily mean that it shows a positive progress of society. Many films, whether they are independent or comi

ng from Hollywood, are using the same repressive queer narratives that films use before. They are simply saying it in a more subtle way than before and covering it in different ways. Many still reinforce heterosexual fantasy through their representation of queer characters.However, it is important t

o remember that other films have been attempting to challenge the traditional representation and go toward a more homonormative representation. In this thesis, I delimitated my research to four films that I will analyze: Call Me by Your Name, Blue is the Warmest Color, Moonlight, and Portrait of a L

ady on Fire.hese films are contemporary queer films from the United-States and Europe. I chose these films in the sea of queer films available for various reasons: their overall popularity, their presence on the international queer film scene, the negative news surrounding them, their awards, or the

ir nominations, etc.

跨國大型商業精子銀行作為現代機構之作用與社會結果

為了解決Oxford Happiness Que的問題，作者孫佳婷 這樣論述：

跨國大型商業精子銀行在近三十年間展現廣泛的影響力，成為單身女性與女同志追求生育自主、構建家庭之常見策略，但大眾對其評價分歧，且相關研究仍顯分布不均，使筆者對其存在之本質產生探問。因此，本研究之目的乃在將跨國大型商業精子銀行視作掌握資源、權力與生產敘事的現代機構來進行整體性審視，將之問題化並置入當代社會中重新考察。本研究提出兩個研究問題，其一是跨國大型商業精子銀行之機制、作用與展現方式為何？其二則是跨國大型商業精子銀行如何影響隨捐贈受孕家庭之構建而開展的新社會關係？本研究主要採檔案分析方法，立意以兩間源自丹麥且全球著名的跨國大型商業精子銀行「歐洲精子銀行 (European Sperm Ban

k, ESB)」與「克雷奧斯國際精子銀行 (Cryos International Sperm Bank, Cryos)」之網站為對象進行考察，資料蒐集與分析依據不同進程，分別於2020年1月至4月間完成；而筆者於2016年至2020年在不同地域的田野調查資料，以及依不同媒介與結構所進行的訪談，則作為分析參照與對話之依據。研究結果顯示，跨國大型商業精子銀行強調自身專業、自律、數據化、科學化與規制化之形象，主要透過圖像、敘事、社交媒體、類型化的捐贈者檔案等虛擬符碼與象徵物運作「想像」機制，旨在刺激女性的生殖欲望與行動；並藉由「區分」機制對捐贈者進行篩選與分類，意在拓展可售性、接合使用者的文化品味

與需求，而經濟能力的差異也定位出主要使用者輪廓—高社經地位、高教育水平、具各類資本與調用資源之能力，且追求工具理性與時效的單身女性與女同志。兩種機制之意圖都是為了刺激消費。跨國大型商業精子銀行作為生殖資源與機會的銷售者、生物與身分資訊的管理者、親緣敘事與文化概念之生產者，在捐贈受孕家庭網絡等新社會關係發展中扮演核心角色，它同時也是符號與欲望交換的展示場域。本研究認為，跨國大型商業精子銀行一方面是支援女性實踐生育的重要階段性解方，促生了新型態家庭與新母職，但同時也帶來倫理與風險治理等面向的論辯，亟需大眾於在地脈絡中以對話或政策修整等方式進行回應。而生殖消費的過程，即是使用者與跨國大型商業精子銀行

相互形塑的過程，跨國大型商業精子銀行作為人工協助生殖現代性的一種徵象與產物，探查其在當代社會中的變化，可為我們指出一條反思文化與社會情勢變遷之路徑。