李安的电影在世界范围内可算是一个不小的文化现象。 这个祖籍中国大陆， 生于台湾， 在美国接受高等艺术教育续而闯荡好莱坞电影界的谦谦君子一次又一次地用他那些细腻， 机智幽默而又充满人文关怀的影像故事感动了不同国家， 不同文化的人们。 不仅观众非常喜爱李安和他的电影， 评论家们也给予了其很高的评价。 从处子作“父亲三步曲”开始， 李安就享有了“女性影片导演”的盛名， 并由于其作品中对同性恋和女性角色的正面描写为人们所称道。 从“父亲三步曲”到为李安摘得2006年奥斯卡最佳导演奖桂冠的《断臂山》， 李安逐渐在人们心目中树立起了一个导演温情默默的家庭剧，对同性恋、女性等边缘群体充满同情并为他们呐喊的影像艺术大师形象。 本论文试图通过另一种视角来审视李安的影像世界。 通过细致的检验分析李安影片中所谓的女性主义（feminist）和反同性恋歧视/迫害（anti-homophobic）元素， 本论文形成了对李安被称为“革命性”的电影导演的批评。 本论文指出了无视李安电影中的反（女性主义和同性恋解放运）动元素的危险性， 并还原了李安影像世界的本来面目：在这些世界中， 父权仍然统治着社会，只是多了几分温情和仁慈； 而女性和同性恋者也只是被给予了有限的自由， 他们仍然处于父权体系的压迫之下。 本论文运用了传播学中的受众理论， 文学理论中的女性主义批评， 同性恋、酷儿批评和电影学中的改编理论。 论文的主体是通过细读李安电影作品（及其原著），主流媒体报刊对李安作品的反应评价和学术界、评论界对李安作品的评论来展开讨论和分析的。 本论文着重分析了李安成名作“父亲三部曲”中的《喜宴》和2005年风靡全球的《断臂山》。 论文第一章阐述了论文中所应用的各种批评理论， 解释了相关的概念， 并简要介绍了李安的生平和他的电影创作。 第二章细致分析了李安的“父亲三部曲”， 从女性主义角度对这三部电影进行了重读， 揭露了影片中有意无意的、隐隐约约的对其女性角色的嘲讽和指责。 第三章通过《断臂山》与其同名原著的比较阅读， 揭露了影片中众多的反同性恋和反女性主义元素， 并指出李安的艺术创作标准更多的是票房收入和奥斯卡奖的青睐。

Ang Lee and his films are a phenomenon in the present world cultural stage. The transnational and trans-cultural nature of his works provides many opportunistic possibilities for the artist in his creation. Exposing the ways “the master of convention,” as Lee is captioned in the title of the thesis, takes advantage of these possibilities, and unearthing the embedded anti-feminist and homophobic elements in the works of a director whom the unsuspecting public’s enthusiasm has crowned as “revolutionary” and “woman’s director,” have productive relevancies both for re-shaping public taste and enlarging the range of academic scrutiny of popular culture. The present thesis aims to read Ang Lee’s films through another light by subverting the supposedly feminist and queer-friendly elements in his films in amounting to a critique of him being a “revolutionary” filmmaker who advocates hardcore woman power and gay rights. The thesis warns of the dangers of not recognizing the reactionary elements in Lee’s films and returns these films to what they actually are: genuine, genius pieces of art created to advocate a version of modernity on the filmmakers’ part, a version where women, gays are allowed a decent place but ultimately not equal to those of “the norm” (read: male, heterosexual), a version where the patriarchal father still rules, however benevolently.For its theoretical foundation, the thesis draws upon theories of mass-media reception studies, feminist theory, gay/lesbian/queer theory and film adaptation theory. Nevertheless, the thesis relies much of its analysis on close-readings of Lee’s works (and their possible origins,) the public reception of these works as exempt in mainstream magazines/journals, as well as scholarly studies and critical reviews. The thesis draws to the conclusion that the mainstream popular and critical acclaim of Lee and his works needs to be reconsidered in a re-examination of the supposed feminist and queer-friendly elements in Lee’s works.The thesis focuses most of its analysis on Lee’s two arguably most notable works from both his pre-Hollywood career in Taiwan and his present Hollywood endeavor, respectively his 1993 The Wedding Banquet and 2005 Brokeback Mountain. The first chapter clarifies relevant theoretical issues and explains relevant/controversial notions as well as deals with the background of Lee’s life and filmic career. The second chapter analyses Lee’s first three Taiwan-themed films or “trilogy of resuscitated patriarchs” by focusing discussion on reading the second film of the trilogy The Wedding Banquet in relation to the other two. The chapter amounts to a feminist critique of Lee’s first three films by subverting their feminine constructions and exposing the velvet-gloved rebukes Lee and his collaborators reserved for their filmic female characters. The third chapter takes on the public’s craze for the 2006 Oscar favorite Brokeback Mountain and in its cross-analysis with the film’s original short story of the same name by E. Annie Proulx, the chapter exposes the ways Lee curtails the original to please the mainstream audience and critics. The chapter argues against Brokeback Mountain being a “revolutionary” work and exposes the film’s many embedded prejudices/accusations towards gays and women in favor of an albeit benevolent patriarchal order. The chapter further concludes by pointing out that Lee’s ultimate artistic measure is box-office demands and Oscar favor.