巫俊锋影片中再现的同志和家国认同 = Representation of homosexuality and national identity in Singapore : a study on Boo Junfeng’s films

• Main Author: 黄露霆 Wong, Lu Ting
• Other Authors: School of Humanities and Social Sciences
• Format: Final Year Project
• Language: Chinese
• Published: 2013
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/51617
• Institution: Nanyang Technological University

同志的话题在九十年代以前还是一个禁忌话题，以致没有人敢讨论同志，同志们也只能生活在自己的小房间里。一直到了近年，新加坡同志的课题开始备受讨论，其中一个经常引起人们对于同志的讨论课题便是自2009年开始的粉红点活动。 身为粉红点的其中一位策划人以及短片导演的巫俊锋不仅仅为粉红点拍摄短片，也在粉红点开始前拍摄了一些同志为题材的短片。通过巫俊锋所拍摄的同志题材短片，他希望能够引发观众的一些思考，并且在观赏后能够摒除和消解一些对于同志的偏见和误解。 Homosexuality was a taboo in the nineties, so homosexuals can only live in their own closets. It was only until recently that homosexuality had become a topic of discussion in Singapore, one of which was the Pink Dot, which was started in 2009. Boo Junfeng, a homosexual himself, helped in the conceptualization of Pink Dot and the shooting of their annual videos, as a director. Before the Pink Dot was established, Boo started his career of shooting short films with homosexual themes. Through the shorts that he directed, Boo hoped to clear up certain misconceptions and at the same time, get people to start thinking about their prejudices against homosexuals, and putting aside these prejudices. Presently, academic research on Boo Junfeng’s works has yet to appear. Most analysis of his works appeared through film critics and interviews. As such, this paper attempts to analyse the images of homosexuals in Boo Junfeng’s films Un Retrato De Familia, Katong Fugue and Tanjong Rhu, and compare them with the homosexuals’ images that are portrayed in mainstream media. Not only that, this paper also includes other works of Boo Junfeng that are not related to homosexual topics such as Sandcastle. Through the analysis of the movie and the director himself, this paper aims to bring out the point that homosexuals can contribute to and love their motherland, just like any heterosexuals.