2010年後台灣黑幫電影的男性圖像與高捷的明星建構：角色分析與明星氣質研究

Abstract

本研究以2010年《艋舺》為起點，探討當代台灣黑幫電影中男性角色所面臨的權力與道德困境及其男性氣質轉變，同時分析高捷如何從素人演員成為台灣黑幫電影的核心文化符號。研究採用文本分析法，選取《艋舺》、《角頭》系列、《林北小舞》、《當男人戀愛時》等作品。研究發現當代台灣黑幫電影男性角色呈現三個特徵：一、陽剛與脆弱並存，展現傳統男性氣概的解構與重構；二、家庭與幫派身份的拉扯，反映現代男性的角色衝突；三、傳統與現代價值觀的衝突，體現社會轉型期的文化認同危機。「不碰毒」成為當代台灣黑幫電影的普遍道德底線，反映社會價值觀的轉變。高捷從1987年《尼羅河女兒》出道，歷經新電影時期的「真實性」體現、產業低谷期的跨媒介發展，到《角頭》系列作為黑幫符號的復興。雖多飾演配角，卻建立超越主角的文化影響力，成為連接不同世代觀眾的橋樑。其本土男性氣質既有傳統忠義精神，又有面對社會變遷的焦慮，映射台灣現代化進程中的集體心理。相較於香港或好萊塢黑幫電影，台灣黑幫電影更側重身份認同與生存掙扎。角色較少為權力或金錢奮鬥，而是在特定環境下尋求生存意義。高捷作為文化符號，其明星建構過程映射台灣電影從新電影運動到類型商業化的轉型，展現明星與類型電影的相互建構關係。This study examines power struggles and moral dilemmas faced by male characters in contemporary Taiwanese gangster films since 2010's Monga, analyzing transformations in masculinity and Jack Kao's evolution from amateur actor to cultural symbol of Taiwanese gangster cinema. Using textual analysis of Monga, the Gatao series, The Gangsters Daughter, and Man in Love, findings reveal three characteristics: coexistence of masculinity and vulnerability; tension between family and gang identities; and clash between traditional and modern values. "No drug dealing" emerges as a universal moral baseline, reflecting evolving social values. Jack Kao's career spans from 1987's Daughter of the Nile through Taiwan New Cinema's "authenticity," industry downturn's cross-media development, to revival in the Gatao series. Despite playing supporting roles, he established cultural influence beyond leading actors, bridging different generations. His local masculinity combines traditional loyalty with modern anxieties, reflecting Taiwan's collective psychology during modernization. Unlike Hong Kong or Hollywood gangster films emphasizing power pursuits, Taiwanese gangster films focus on identity formation and survival struggles within specific social contexts. Jack Kao's star construction mirrors Taiwan cinema's transformation from art cinema to commercial genre films, demonstrating mutual construction between stars and genre films in cultural production.