串聯每部電影和每段感情的時空背景
台灣第一本以自出版介紹「如何自出版」，看看三家電子書平台主管怎麼推薦
一部拉子成長小說的啟發，從讀者、觀眾到意外的ex-gay專題研究
希望保持一年一書的進度
我想轉換心情，決定先換一下話題，看看目前的商業設計．這裡幾款平面稿都與同性相吸有關．
改變磁鐵傳統的南北極相吸？太勉強，不是個好創意．
想顛覆插頭插座刻板印象？這幅還是不成功．
Ladies of Llangollen
1778年第一次行動失敗，她們被雙方家族帶回隔離，Butler被要求進入修道院，Ponsonby被強迫成婚．她們抗拒這些安排，還好家人態度軟化，1780年她們終於成功地跨海至北威爾斯，落腳在Llangollen，而且一住就是50年．她們的居處被稱之為Plas Newydd．兩人靠著親友們的經濟支援，過著簡樸的生活，平日休閒活動就是閱讀、寫作、園藝、騎馬．她們雖穿著女士的裙裝，但上身總是穿著男士穿的背心；她們在書信是共同署名的．她們被世人稱為："Ladies of Llangollen"
有趣的是，她們不斷地修建房子，卻直到1819年才買下房子，到1831年兩人都去世為止．後來，房子被另一對女子Amelia Lolley及Charlotte Andrew所買下，並且仿傚前輩的生活方式．接下來幾經轉手，終由當地市政單位收購改為博物館開放給一般大眾．當英國開放同志婚姻時，有些人便提議，同志婚禮應該在Plas Newydd來舉行．
我們家此刻充滿喜悅，像是突然卸下千斤重擔．我不想明說是什麼樣的喜悅，因為在這個部落格是不討論政治．但是我想形容那種感覺很像看到結婚照裡反映的幸福感，對未來充滿希望的憧憬－－即使那是素昧平生的陌生人．
這幅據說是1908年的畫作，像是過火的道晚安之吻．
這幅1935年的負面作品，醜化右邊的中年女子，把女女情畫得像權力宰制．
Albert Marquet (1875-1947)
Tony Minartz (1870 - 1944)
23) Certain photographs in the popular press also play up Foster's ambiguity by showing her features as partially hidden. In one Rolling Stone photograph, Foster stands slightly off-center, wearing a shimmery silver outfit, with shadows dividing her face. She presses her hand up against what appears to be a glass window (Hirshen 35). This photo, in particular, suggests that Foster is pressed under a microscope slide, asking the readers of her image, "Who am I?"The shadows that frame her cause her identity to seem slightly unknowable. One might assume that Foster's refusal to be labeled in interviews or photographs positions her outside the discussion of sexual identity. Indeed, instead she finds herself right in the middle of the discussion, but merely occupying an ambiguous and enigmatic space within it.
24) Foster appears to contribute to the ambiguity of her persona in part by eluding questions in interviews that might reveal too much. One Redbook interviewer says, "Jodie Foster is skilled at avoiding questions and dodging comments on forbidden territory--specifically the realm of two prohibited topics.Prohibited Topic Number One involves everything about her romantic life and inclinations" (Segell 79). The fact that the author brings up her romantic life in terms of "inclinations" provides just one example of how the media throw Foster's sexual identity into question. (The second prohibited topic happens to be John Hinckley Jr.) Foster draws a line on her romantic life, refusing to indulge in the conversation. This same strategy of eluding the public's desire to "know" her -- to categorize her sexually and socially-- can be seen in her choice of film roles. Very rarely does she play a character where the film is allowed to "suture in" a romantic happy ending with Foster riding of into the sunset on the back of Prince Charming's horse.Most of her films conclude atypically for Hollywood, echoing the diasporic characteristic of much of lesbian fiction and film. In Little Man Tate, the first script that Foster chose to direct herself in, her character never finds herself confronted with a love interest, but instead concentrates on her relationship with her son.
25) One of the aspects that makes Foster's persona so provocative is that, although she retreats when asked about her own romantic life, as she gains power in Hollywood, she chooses to address sexuality as her major subject of exploration. When asked by Redbook what she wants to do in the film world, she picks "the subject of how absurd -- and false -- Hollywood's renderings of women's sexuality are on screen. She finds it 'laughable' that women in movies can manage a shattering orgasm after about 20 seconds" (Segell 79).
27) Foster's ideas about representing desire and sexuality on screen are most certainly women-centered, and even border on the latest developments in feminist film theory that attempt to radicalize the current masculinist and heterosexist symbolism of women's sexuality in mainstream texts. In other words Foster redefines sexuality as a fluid category -- not merely as a rigid and confining projection of what men want, but instead as an orchestration of female fantasy and desire. The reporter asks how she intends to change contemporary representation.
28) So, in interviews, Foster apparently frames her thinking about sexual representation in terms of the boundaries between interior and exterior, public and private, in and out. She makes similar comments to Rolling Stone: "I have this fascination with public personae and private people.There's that juxtaposition of image versus intimacy" (Hirshen 89). This public/private quandary seems to structure Foster's cinematic intentions. Her fascination with public and private can be framed theoretically as well. She is studying the distance between representation and subject.
29) If Foster is ambiguous, then doesn't she use that "space of unknowing" to her advantage -- strategically aligning herself where she sees fit for the time or, better put, intentionally disaligning herself from any static position?
32) Thus, although Starling is a woman, she may not be a "normal" woman. We thus have a quadrant of gender and sexual preferences available in the film: Lecter: heterosexual male; female victims: (heterosexual) female victims; Gumb: homosexual male; Starling: homosexual female... In my analysis of this public discourse, the most apparent danger [as evidenced by social anxieties] was from incorporating or transgressing traditional oppositions.
34) This article has been an effort to posit iconic inquiries and address them. As I have shown, Foster's images are constructed not only through her acting roles, nor only through her directorial choices, but also via her iconography that circulates through print media and fashion photography. Of course, in exploring mediations of Foster, one needs to take into account Foster's privileged status as an upper middle- class, ivy-league-educated, white woman. Perhaps, through her iconography, Foster exploits a position of identity.Acknowledging this privilege, I conclude however, with the suggestion that Foster's ambiguous and tenacious "unidentity" may be her public articulation of the problems associated with sexual boundaries and categories.
本文試圖去推論公眾形象的疑點，並提出說明．如同我所指出的，福斯特的形象不僅由她演出的角色，也不是只由她導演的作品所建立，還包括經由平面媒體及時尚攝影所流傳的圖像．當然，要解讀福斯特，還須考慮福斯特的特權身份：中上階級、長春藤聯盟的知識份子、白種女性．或許經由她的圖像研究，福斯特大膽建立出一種特性．就算她屬於特權身份，我還是要這樣定論，福斯特的雌雄莫辨，與堅決地「不被定性」可能是她在性慾的界限與歸類上產生問題的關鍵所在．
12)What becomes evident about Foster's star persona is that it is able to simultaneously embody traits of masculine and feminine. The screenwriter of Little Man Tate sums up this split, saying, "She seems so small and sad; you want to protect her. Then you find out she's a pretty and intelligent woman who knows kick- boxing" (Corliss 72). Such a characterization illustrates how Foster projects a certain contradiction-- of weak and strong, feminine and masculine, protected and protector. Perhaps her popularity stems from the ways she personifies the interconnectedness and complexity of such apparent oppositions. And this projection gets played out intricately in portrayals of Foster's personal life, in her acting roles, and in the press in numerous ways.
很明顯地，福斯特的銀幕形象能夠同時包融陰陽剛柔．＜Little Man Tate 我的天才寶貝(1991) ＞的編劇便提到這種性格分裂：「她看起來很憂鬱弱小；讓人想要保護她．接著你發現 她既美麗又聰穎，而且還會打拳擊．」上述描述勾勒出福斯特性格上的矛盾：懦弱與堅強、陰柔與陽剛、被保護者與保護者．或許她受歡迎的原因，是她如何將這些相異特質的關聯性與複雜度，內化成自己形象的方式．福斯特藉由私生活、演出的角色、媒體宣傳等不同方式，複雜地演繹出來．
13) Another related dualism that Foster throws into question is that of victim/heroine. In Taxi Driver, the young prostitute played by Foster is a victim of circumstances -- a runaway who seems forced into prostitution for survival. Similarly, in The Accused, Foster plays a working-class woman who is gang raped and then consequently blamed for her "loose" behavior. These characters look like typical victims on the surface, however, they usually persevere past the violence and trauma they experience, revealing a heroic quality.
福斯特雙重性格中最被探討的是：受害者與英雄．在＜Taxi Driver 計程車司機(1976)＞福斯特扮演的雛妓是環境的受害者：逃家在外，似乎是被迫接客維生．同樣地，在＜The Accused 控訴(1988) ＞福斯特扮演勞工階級，受到集體性侵，還被歸咎於自己行為不檢點．這些角色表面上看起來是典型的受害者，但她們都能經歷肉體與心理的創傷而堅忍不拔，呈現英雄式的特質．
14) An image of Foster's personal life as constructed through mass culture reflects the same kind of split persona. In 1980, she was seen as a victim of John Hinkley Jr.'s obsession when he used his admiration for her as his excuse for shooting President Ronald Reagan. To tell her side of the story, Foster even wrote an account of her experience for Esquire magazine entitled "Why Me?" -- a definite tag of "victim" status. However, even though she was just starting out as a freshman at Yale University at the time of the shooting, she organized her own press conferences and publicity rose above the experience (Miller 29). Also putting her at odds with a victim image is her current reputation in Hollywood as a powerful icon and two-time Academy Award winner. In fact, it is rare to find Hollywood so unwaveringly in love with any screen actress. In her article entitled "Never a Victim," B. Ruby Rich comments on Foster's refusal to conform to Hollywood's equation of "woman equals victim." Rich proposes:
15) In her case, though, Hollywood functioned as its own immunization: [Foster] became resistant to the artifices of glamour and the siren song of artificial femininity. She became her own woman, instead of theirs, with the unexpected result that the audience finally got to see on screen someone whose guts showed on her face. (57)
17) Perhaps it is Foster's mobility as an icon -- her ability to slide up and down the registers of masculine and feminine -- that encourages Hollywood's love affair with her. Of course, gender transgression does not necessarily correspond with mobility across lines of sexuality (i.e., when Foster appears masculine, she is not necessarily identifying herself as "butch").However, it is certainly Foster's mobile quality that positions her as a liminal figure in today's popular culture. Foster embodies a refusal to polarize binary oppositions.
18) In fact, in some representations of Foster, her image denies easy categorization to the point of appearing neither masculine nor feminine, but androgynous. Her androgyny has been commented on in the popular press, both in her younger days and more recently. One article in American Film described childhood persona as "limp-haired, pre-pubescent
19) "Attribute it to whatever you want, but the fact remains, there is an androgyny to Foster's effect. Her bearing more closely resembles the crown prince than some spoiled princess. She's more Robin Hood than Maid Marian.... No one is calling her a sex symbol, but clearly she is a symbol of something." (48)
20) What is Foster a symbol of Whereas some admirers would say it is androgyny, others label it within the purview of a related, yet less specific term- ambiguity. Jodie Foster has been discussed in relation to a predecessor of Hollywood successes, the 1930 film director Dorothy Arzner. In Judith Mayne's article, "Lesbian Looks", she talks about androgynous-looking Arzner, who was "outed" in the 1970s, in terms of what was/is often missing in discussions about her-- her "erotic connections with women" (106).
21) Mayne highlights the way that Arzner was often portrayed through divided representations in publicity photos. On the one hand, she would be seen with machines associated with filmmaking and thus characterized as "the director," a masculine role. On the other hand, Arzner would be positioned with Hollywood actresses, implying her ability to relate to women and be one of them. In both instances, importantly, many visual cues would be readily available for spectators to read her lesbianism into the representation. However, these codes would always be shrouded in silence and invisibility. Hence, Arzner's ambiguity-- her unreadableness-- is what defined her. In Mayne's forthcoming book on Arzner, she highlights a parallel situation in which we have Jodie Foster, who, now that she is a director as well as an actress, often finds herself in multivariant representations (172-3).
Mayne特別指出Arzner常在媒體宣傳的照片中呈現分裂的形象．有時，她與攝影設備一起出現，傳達出導演身份：一種陽剛的的角色．有時，她與好萊塢女星併呈，暗示她是女性，所以有能力掌握女性同理心．在上述兩個實例，許多視覺上的暗示，都能讓觀察者將她判讀為女同．然而這些符碼總是被掩埋在聽而不聞視而不見．所以，Arzner的雌雄莫辨(無法判讀她)反而變成她的特色．在Mayne研究Arzner的著作，她特別將福斯特相提並論，她既是導演亦是演員，她的形象呈現更為多元複雜．
22) In fact, Foster's image often gets polarized in the media, as though she cannot be represented as an actress and a director at the same time. In an issue of Vogue she appears to be a famous star - her tousled hair looped into a bun at top of her head, and a bright smile planted on her face (11). However, the cover of Time magazine portrays her above the headline "A Director is Born" as very serious and critical (Corliss). In one frame, she is vulnerable to the scrutinizing "male gaze"; in another, she is the one doing the scrutinizing. Foster also dichotomizes the two images to reporters, saying that acting tends to be more "experience-oriented" and "free of structure," while directing requires "analysis" and "detached observation" (Corliss 72). She insists that she is involved in the constant effort of reconciling her heart and her head.
1)The discussion of lesbian representation often revolves around visual signifiers- - particularly how a woman might be identified as lesbian through her choice of fashion, display of political symbols, her language, and her conscious or unconscious reinforcement of stereotypes. Within this framework, I will examine the images of a public figure, Jodie Foster, who, whether willingly or not, has entered into this discourse about lesbian signifiers and self-representation.
2)The sexuality of feminist director and actress Jodie Foster has been put into play as both visibly and invisibly lesbian since Michaelangelo Signorile, editor of Outweek, considered publicly identifying her as gay in his publication in 1991. However, I will argue that a certain strategic sexual liminality informs much of Foster's career-- than her persona encompasses such oppositions as masculine/feminine, public/private, gay/straight, in/out rather than submitting to their binary structure. (1) I intend to look at the conscious and subconscious cultural iconography surrounding her and attempt to identify ways in which she constructs her own image on the screen and through personal interviews. Although stars generally have minimal authority over their own images, I find it a valuable exercise to examine the way in which actors may mediate that authority through the press and Hollywood.
4)First, I will outline the short history of gossip and rumors that originally put Foster's sexuality into question publicly. The publication Outpost, known for its mandate to publicly identify ("out") gay, powerful people, circulated one if its "Absolutely Queer" posters with Foster on front. At the same time, Signorile of Outweek, a strong proponent of "outing," decided to write an article attacking Foster for acting in and celebrating The Silence of the Lambs when the villain was portrayed stereotypically as an effeminate, gay transvestite. In fact, rumor has it that an ex- girlfriend of Foster's considered writing an expose on her for Outweek. Cindy Carr of the Village Voice then in turn attacked Signorile for attacking Foster. Signorile writes about the controversy in his book, Queer in America, saying:
5)Lesbian activists with whom I'd regularly consulted with at the time told me that, because Foster was pretty and feminine, and because she was the epitome of a straight, WASP woman, the outing caused a curious backlash among women, gay and straight.
6)Certain groups in the female backlash felt that Foster was being identified as gay because she is a strong woman; they felt it was wrong for gay activists to use her as a "sacrificial lamb" (Staiger 142). Janet Staiger has paid in-depth attention to this public identification as a cultural event, linking it to the critical response of The Silence of the Lambs. Staiger suggests that Foster "could be the lamb sacrificed in punishment for the film's expressed homophobia and repressed polymorphous sexuality" (153). In conjunction, Staiger proposes that because Foster's being identified as gay symptomatizes current cultural taboos, it is "more overdetermined linguistically, psychoanalytically, and culturally than it might appear" (144). The cultural codes embodied by Foster as (simultaneously or separately) a feminist, a femme lesbian, a butch lesbian, and a "good [heterosexual] girl," that is, someone who needs protection from the press and gay activists, are because of her liminality. Thus Foster's persona merits further exploration for understanding contemporary social reactions to certain signifying strategies and our cultural readings of those discourses.
有些女性團體認為福斯特因為很強悍而被視為女同；她們認為同志平權人士錯將她當作代罪羔羊．Janet Staiger深入觀察，認為這項公眾身份認同是個社會事件，是與批判＜沈默的羔羊＞聯結在一起．Staiger覺得福斯特變成代罪羔羊，是因為他們要懲 罰電影傳達恐同及壓抑不同性傾向．她指出因為福斯特視為女同而引起一連串的文化禁忌，在語言上、心理上、文化上顯示更為多元面向．由於她模糊的性傾向，不管福斯特身上的符碼(是同時，還是單獨)表現出她是女性主義、女同P、女同T，或是異性戀的乖女孩，她都像是需要保護於媒體及同志平權人士之外．因此要進一步探討福斯特的電影表演成就，以了解社會對這種形象塑造的反應，我們的文化如何解讀這種論述．
7)Let us now look at Foster's cinematic work. The film roles that an actress finds herself in or, as she acquires power in Hollywood, those she chooses for herself, maybe her most determinant strategy for constructing her image. Foster has shied away from playing traditional female characters, instead projecting a very complicated image. Even as a child, she always played stoic, distanced characters onscreen. Like the tomboy daughter in Alice Doesn't Live Here Anymore and the 13-year-old prostitute in Taxi Driver, her characters are tough and precocious, having lived in a rough world. While most female child actresses were playing up their girlish sweetness, Foster appeared to be nonfeminine.
我們檢視福斯特的電影作品．有些角色是別人邀約，有些角色是她在好萊塢影響力增加後她自己爭取而來，這些角色選擇可能是她建立自己形象的長期策略．福斯特總是避免傳統的女性角色，而以複雜的形象取而代之．既使在童星時代，她一直都扮演禁慾的，疏離的人物．例如＜Alice Doesn't Live Here Anymore 再見愛麗絲 (1974)＞像小男孩的女生，或是＜Taxi Driver 計程車司機(1976＞年僅13的雛妓．她的角色都很強悍而早熟，在艱困的世界中求生．大部份的女童星只是表現甜美的小女孩，福斯特卻一點也不女性化．
8)Foster's role choices did not change much as she grew into a woman. She continued to play characters such as the tough-girl victim of attempted rape in Five Corners, the gang-rape survivor in The Accused, and a federal agent tracking a serial killer in The Silence of the Lambs. In a 1991 Rolling Stone article she says, "There are some characters I can't do.. I don't know how to cry and be kidnapped. I don't know how to approach weak" (Hirshen 89).
9)The persona constructed by her film characters carries over into publicity spreads and fashion photos of her. Often Foster is posed wearing markers of "butch" lesbianism, such as denim, leather, or men's clothing. This is particularly true in photos that came out around the release of The Accused -- a film in which Foster's character goes from long, flowing hair to short, hacked hair after experiencing physical and institutional rape (perhaps a stereotypical plot point). If is also true in photos that depict her as a film director, a conventionally masculine role. In the late 1980s, Elle magazine labeled Foster's fashion choices as "lumberjack chic" (Miller 27). [2]
10)Perhaps it is a symptom of the media's tendency to feminize almost any female star, or perhaps it reflects Foster's own range and flexibility, but she often has also projected a persona that is quite feminine. Her "femme" image is readily observable in the fashion photography of such magazines as Glamour, Harper's Bazaar, and Vogue. Photos such as those that appear in the 1989 Harper's Bazaar "America's Ten Most Beautiful Women" issue feature Foster's hair and makeup, painting her as a sophisticated and idealized beauty (on cover and 326).In one of Foster's most recent fashion spreads (Vanity Fair, May 1994), she conforms to the "waif-like" standard precedented by Kate Moss. With one arm barely covering her naked breasts, her skin appears extremely pale and her eyes gloss over sleepily. 
或許把每個女明星都變得女性化是媒體的通病，或許它是展現福斯特表演的廣度和彈性，她常呈非常女性化的形象．在時尚雜誌如Glamour, Bazaar, 和 Vogue的時尚照片中，她的女性化形象是顯而易見．在1989年Bazaar「美國十大美女」專題，強調福斯特的髮型及化妝，把她塑造成風華絕代的美女．在1994年5月的Vanity Fair浮華世界的時尚照片，她依Kate Moss的風格來裝扮．她的一隻手幾乎掩不住胸前春光，皮膚白淨，故意雙眼惺忪． 
11)In interview after interview, Foster discusses her overwhelming need to be liked, to be approved of. Also, she told Rolling Stone that her idea of "soft porn is a Williams Sonoma catalog. Anything to do with the kitchen I'm a sucker for" (Hirshen 88). By feminist ideals, she has certainly not shed standards of feminity. Foster made a substantial break from her tough-girl persona in the spring of 1993 when she starred in Sommersby, a historical love story based on The Return of Martin Guerre in which she offers a softer, more romantic side of herself. Whereas Sommersby is one of the only films in which Foster is paired up with a leading male love interest (to which I will come back later), even after, he dies and she presumably lives out the rest of her life alone. Foster's 1994 role in Maverick as Mel Gibson's love interest/rival characterizes her as a southern belle, but one who is driven by wealth, not love. Foster's Annabelle sees men as subjects (objects?) for manipulation, and this perspective means that the audience never knows where Annabelle actually stands in terms of the film's plot.
許多採訪中，福斯特表達她被喜愛，被肯定的強烈需求．她還告訴滾石雜誌：「廚房用具型錄(Williams Sonoma catalog)對我而言是春藥．只要是廚房裡的東西，我都愛得要死．」就女性主義的典範來看，她並未擺脫女性傳統特質．她在1993年春天，暫時從強悍女性的銀幕形象中抽身．她演出＜Sommersby 男兒本色 (1993)＞，這是一部根據「馬丹．蓋赫返鄉記」改編的愛情史劇．她在片中表現她柔軟浪漫的一面．當時＜Sommersby 男兒本色 (1993)＞是她唯一與當紅男主角配對演情侶(這個稍後再說)．但是他最後死了，她可能是孤獨度過餘生．福斯特於1994年在＜Maverick 超級王牌(1994) ＞以南方佳麗之姿扮演梅爾吉伯遜的愛人及對手，但這個角色是受金錢驅策，而非愛情．福斯特扮演的安娜貝視男人為操控的對象，從這個角度來看，觀眾永遠搞不懂安娜貝根據劇情，到底有沒有真心愛過男方．
