本論文擬探討白先勇先生的小說《孽子》改編而成的影片《孽子》。研究發現，不僅小說開啟台灣同志文學的創作風潮，改編之後的電影也不遑多讓，同樣具有承先啟後的重大意義。一九八六年出品的《孽子》打破多項禁忌，它首度讓同志影像現身於台灣的大銀幕上，影片內容也挑戰父權與異性戀體制建構的傳統社會規範，甚至於因為歷史時空的因緣際會，似乎也預示台灣即將在政治、社會、文化等方面朝向自由開放的多元方向發展。 然而本研究另有一層意涵，試圖由電影美學出發，探尋《孽子》的「電影性」，也就是檢視影片敘述結構與影像風格中，不時展露的「自我反射」特質。另一方面，如果將本片放回台灣電影的歷史脈絡，一九八六年標示著台灣新電影運動的結束，是一個時代的結束，也是另一個新時代的開始，即使台灣新電影運動相關論述仍舊不斷展開，《孽子》卻相對地被忽略了。如今重新賞析本片，可以更清楚地看到《孽子》在電影語言與技法的創新突破。最後本文以回顧過去二十多年來台灣同志電影的發展脈絡，總結《孽子》的意義。

The Outsiders, adopted from Pai Hsien-Yung’s novel of the same name, is marked as the first gay film in the history of Taiwan cinema. Both the original novel and the film have their epoch-making significance in many respects. Both challenge rigid rulings of patriarchy and heterosexuality in Taiwan. The film, ironically made in 1986, was destined to witness the transformation of Taiwan in political system, social tolerance, and cultural diversity. The paper would like to address the meaning of The Outsiders from this perspective. This paper will also study the film from the point of view of cinematic aesthetics. Again, 1986 is an important year for Taiwan cinema, because it was the end of the New Taiwan Cinema movement. It was also the beginning of the gay cinema for the next 20 years, in which The Outsiders plays a pivotal part. Even so, it is overlooked by almost all studies of Taiwan cinema in this period. This paper would like to examine innovations of mise-en-scene and the use of self-reflexivity in this film. Finally, this paper will end with a look of the trajectory of gay film in Taiwan cinema since The Outsiders.