ABSTRACT

This paper focuses on ninkyō eiga (the chivalry film) and especially the Abashiri Bangai-chi series to examine politics of effeminacy in the masculinist film genre. Unlike conventional ninkyō eiga in which any corporeal intimacy between the men is negated, the Abashiri Bangai-chi series is subversive in a way that it acknowledges the sexual intimacy in a male-dominated environment. Particularly, effeminate characters are employed as comic relief who sexually approach masculine yakuza only to be rejected. They appear as the abject opposite of masculinity to sustain the supremacy of patriarchy. On the other hand, intimacy between masculine men is highly exaggerated to the extent that the male body becomes a visual spectacle that exudes homoeroticism. Especially, effeminate characters are the ones that are given opportunities to adore men’s bodies and fondle them for sexual pleasure. Abashiri Bangai-chi is a reactionary series that borrows the formula of ninkyō eiga to present the idealized versions of masculinity but also plays with the generic convention by amusingly exposing the erotic nature of the act of consuming masculine yakuza.

摘要

本文着重研究骑士电影ninkyōeiga ，尤其是网走挽歌系列，以研究男性电影类型中的女性政治。与传统的ninkyōeiga不同，传统的ninkyōeiga消除了人与人之间的任何亲密关系，而Abashiri Bangai-chi该系列作品具有颠覆性，它承认男性主导的环境中的性亲密关系。尤其是，采用e媚的角色作为漫画的浮雕，他们性接近男性的yakuza，而被拒绝。它们似乎是男子气概的对立面，以维持父权制的至高无上。另一方面，男性男性之间的亲密性被极大地夸大，以至于男性身体成为散发同性恋现象的视觉眼镜。尤其是，具有品味的角色是有机会崇拜男人的身体并为性爱而爱抚它们的人。网走Bangai-chi是一个反动系列，借用ninkyōeiga的公式呈现男性化的理想化版本，同时通过有趣地揭露食用男性化的yakuza行为的色情本质，从而与一般习俗打交道。