『恋人たちの食卓』における父親の表象 : 空間とジェンダーの視点を中心に

Abstract

Born in Taiwan, Chinese director Ang Lee’s Father Trilogy, representative of his family drama in the 1990s, touches upon the parent-child relation and social bonding in a culturally specific fashion --- from the perspective of the eastern culture and western culture. With a focus on Eat Drink Man Woman, the finale of the trilogy, this thesis sheds light on the father’s image by virtue of discussing eating and drinking, along with men and women. Through the analysis of lenses and scenes, it is intended to illustrate the father’s image displayed in the constructed space of the film (such as the house, the kitchen and the living room), together with the rebuilding of the otherwise unitary image of the father in a traditional patriarchal family. In contrast to the singledimension portray of the father’s image in other contemporary Taiwan films, Ang Lee adds a new dimension to the father’s image in terms of humanity-related observation and gender consciousness.