誰是好／壞女人？《新玫瑰瞳鈴眼》中的女性形象再現

Abstract

類戲劇曾於一九九〇年至兩千年時於台灣電視節目熱播,劇情多涉及真實案件改編及人倫情慾議題而飽受爭議，在當時不僅坐擁高收視，時至今日仍能見於社群媒體的討論之中。然而做為曾經風行一時的電視劇種,理應有其可以探究與討論的空間，卻少被關切。過往提及類戲劇的研究也多將之視為再現父權壓迫的文本。本文以類戲劇中的經典作品之一，《新玫瑰瞳鈴眼》為研究對象，該劇延續《玫瑰瞳鈴眼》以女性為主角的敘事方式，劇情多呈現家庭及親密關係間的性別互動。本文以文本分析法與敘事分析為研究方法，分別從父權壓迫、女性形象建構、神祕力量與性別等主題，解析劇中性別再現與敘事方式，試圖挖掘該劇如何再現一九九〇年代台灣社會中女性樣態，以及潛藏在劇中的性別意識形態。

本文指出，《新玫瑰瞳鈴眼》呈現女性角色在父權結構中所受到的多重壓迫，同時在建構「好／壞女人」的女性形象中延續類戲劇強調善惡報應的道德觀，呈現出《新玫瑰瞳鈴眼》對於分類好／壞女人的性別意識形態。不過，由於類戲劇本身龐大的編劇群，且在後期類戲劇「人倫犯罪」的轉向下，《新玫瑰瞳鈴眼》百餘集的集數中也呈現出女性角色的能動性，在當時百家爭鳴的類戲劇中，仍有敘事上的突破。此外，類戲劇往往藉由融入神秘力量以達到懸疑與刺激的效果，本文也欲指出《新玫瑰瞳鈴眼》中神秘力量與性別交織，成為性別壓迫的工具的同時，亦有不少集數呈現神秘力量不存在的理性敘事，展現一九九〇年至兩千年間女性角色在「傳統／現代」二者間擺盪的豐富圖像。“Taiwan quasi-drama” were a popular genre on Taiwanese television from the 1990s to the early 2000s. Frequently adapted from real-life cases and involving controversial themes of human relationships and sexual morality, these shows drew both high ratings and public criticism. Despite their once widespread popularity and continued discussion on social media today, this genre has received limited scholarly attention. Existing studies often frame such programs primarily as texts that reinforce patriarchal oppression.This study focuses on New Rose n' Siren Eyes, a representative example of the genre and a continuation of Rose n' Siren Eyes, which centers female character in narratives involving domestic and intimate relationships. Using textual and narrative analysis, this study examines the show's representations of patriarchy, female identity, mysterious forces, and gender ideology. It aims to uncover how the series reflects the conditions of Taiwanese women in the 1990s and reveals the gender ideologies embedded within its narratives.The analysis shows that New Rose n' Siren Eyes portrays multiple layers of female oppression within patriarchal structures. It constructs dichotomous female images—"good" versus "bad" women—reinforcing a moral framework based on retribution, a hallmark of the genre. However, due to the large and varied pool of writers and a later shift in the genre toward "human relationships crime" themes, New Rose n' Siren Eyes also offers moments of narrative innovation, granting female characters a degree of agency. Moreover, while supernatural elements are often used in Taiwan quasi-drama to generate suspense and excitement, this study also identifies episodes in which such forces are downplayed or rationalized. These portrayals reflect the complex negotiation of traditional and modern identities among women in Taiwan between the 1990s and 2000s.