二十一世紀之初，日本、韓國、台灣競相推出了各種流行搖滾（pop-rock）影視作品，它們主要為再現流行歌手、搖滾樂團、與木吉他彈奏的電影、紀錄片與電視劇。本文探索東亞流行搖滾影劇的媒介與文化生產條件，並分析作品中的性別結構與性表達。每一部流行搖滾影視作品，都是性別文本，指向具體的性別認同路徑。本文討論幾類鮮明的認同位置與區隔，像是失意搖滾漢（韓國）、從創作中實踐真誠性的吉他男孩（日本）、舞台上炫麗的搖滾女孩（日本）、獨立音樂圈中的音樂女神（韓國），以及宛若說書人的吉他少女（台灣）。透過三地的參照，本文思考西方流行搖滾樂的神話，在東亞流行文化間發生了怎樣的轉換。本文發現，東亞的流行搖滾音樂敘事，並沒有複製西方搖滾神話的反抗性格，更多時候，它回應在地的音樂文化與性別生產條件，提供了異托邦，而非烏托邦的想像。

The first decade of the 21st century has seen a concurrent rise of pop-rock screen productions in Japan, South Korea, and Taiwan, particularly feature films, documentaries, and TV series informed by the guitar and/or band culture. This paper probes such popularization of pop-rock in the region and asks what gender and sexual expressions have been mobilized in the productions and representations. The paper juxtaposes dominant gender tropes, such as the failing male rocker in search of rebirth (Korea), romantic youth pursuing authenticity (Japan), dazzling but also bedazzled rocker-girl on stage (Japan), indie music goddesses in control of subdued femininity (Korea), and peripheral girl-with-acoustic-guitar who chronicles boys' sorrow (Taiwan). Responding to the familiar myth of rebellion in pop-rock discourses, our inter-referential analysis suggests that East Asian pop-rock screen is about the making of heterotopias rather than of utopias.