标题: | 娄烨电影中的女性形象分析 Analysis of Women’s Image in Lou Ye’s Movies |
作者: | 沈庭安 郭良文 Shen, Ting-An Kuo, Liang-Wen 传播研究所 |
关键字: | 娄烨;电影;女性形象;女性主义;中国电影;Lou Ye;Movie;Feminism;Women’s Image |
公开日期: | 2016 |
摘要: | 娄烨,作为中国第六代导演,也是知名的禁片导演,其擅长利用长镜头的纪实、关注社会边缘角色、中国禁忌题材、也给予女性角色极大的出场空间,其表达的意识型态经常挑战中国的体制与电影审查。本研究鉴于上述的特殊性,期望从娄烨电影瞭解中国女性角色的建构,女性具有哪些特质与流变,或是部分思潮的转变,利用精神分析女性主义作为途径。其次,娄烨的电影作品经常面对电影审查制度,他与第六代导演能够以何种方式与审查制度共存,又如何反映在作品中?对女性角色的演绎又产生什么样的作用? 本研究采取精神分析女性主义的途径,来分析娄烨电影中的女性形象,本研究在第贰章与第参章回顾女性主义与中国、精神分析女性主义的重要概念、中国电影中的女性角色以及电影审查制度。 研究方法则是利用叙事分析与次级访谈资料整理,解析六部娄烨导演的作品:《周末情人》、《苏州河》、《颐和园》、《春风沈醉的夜晚》、《浮城谜事》、《推拿》。研究结果发现女性角色有四个特质,反覆地出现在女性角色身上:“压抑的女性”、“为爱偏执疯狂的女性”、“罪恶的女性”、“悲苦的女性”。娄烨的女性反映出当代的女性仍旧被父系霸权宰制,但是,即便父系权力捆绑着这些女性,她们往往选择跳脱出来,怀有脱离掌控的渴望,抵抗权力的隐喻。因此可以说娄烨利用女性做为抗衡电影审查制度的工具。这可和娄烨的创作生涯扣连,因为从第一部电影即面临中国对电影的严厉审查,《苏州河》、《颐和园》分别被禁映,娄烨甚至因为后者被禁止在中国境内拍片五年。2012年解禁后的娄烨也开始试图向市场靠拢。解禁前后的女性形象是一致的,但主要的差异是叙事题材与手法的选择。 娄烨与第六代导演该如何突破中国体制,除了倚赖网路传布以及国际影展外,更重要的是要跟本土的观影者接合,在艺术与社会共鸣间找到平衡点。此外,第六代本属于个体经验的创作,将“自由精神”利用个人的分化散布在中国影坛,替中国电影注入新的能量,开启自由创作的契机。 Lou Ye, one of the sixth generation directors of China, whose movies always disobey the Chinese government’s legislation, has a strong and alternative taste of film aesthetics. The purpose of this thesis is to investigate women’s image in his movies using psychoanalytic feminism theory. Another aim is to find out how the Chinese film censorship system impacted on his films. Qualitative method was applied. Researcher examined the contexts of six of Lou Ye's movies, including ‘Weekend Lover’, ‘Suzhou River’, ‘Summer Palace’, ‘Spring Fever’, ‘Mystery’ and ‘Blind Massage’ based on a narrative analysis and the use of secondary interviewed data. The results reveal that there are four characteristics of the female characters, which are ‘oppressive’, ‘paranoid’, ‘guilty’ and ‘miserable’. Patriarchal hegemony still dominates the ideology of the films, however, female characters were portrayed to break away from this kind of hegemony. Lou Ye tends to use women as a resistance to the Chinese film censorship system. It is also found that after banning from filming for five years, Lou Ye tried to make his movies getting closer to the audience. In order to maintain a balance between film scrutiny and creativity, Lou Ye needs to make his films cater to the local audience's tastes and bring free spirits to the filmmaking industry in Chinese society. |
URI: | http://etd.lib.nctu.edu.tw/cdrfb3/record/nctu/#GT070259111 http://hdl.handle.net/11536/142162 |
显示于类别: | Thesis |