“陌生人”的桥梁梦—李安电影解读

发布时间：2018-01-08 23:07

本文关键词：“陌生人”的桥梁梦—李安电影解读　出处：《河南师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：“陌生人”是社会学家齐美尔提出的一个术语，之后被许多社会学家从不同的角度完善发挥，“中原文化”“情结”使得台湾电影导演李安曾一再强调自己的“外人”身份（台湾外省人、大陆台胞、美籍华人），，这与社会学研究中的“陌生人”发生极大的理论共鸣。具体表现在“边缘性”：亚文化人类的同一聚焦；“无家性”：“现代民族国家”中的相似遭遇；“跨界性”：重合的风格品质。事实上，“陌生人”的身份对李安电影的创作起着核心的作用。它一方面使其电影的主题围绕“压抑”进行，这是现代民族国家中“边缘性”与“无家性”的“陌生人”的必然焦虑；另一方面“跨界”也让拥有客观自由视角的“陌生人”李安变被动为主动，试图借由电影对造成自己“陌生人”身份的各方展开一种“陌生人”的“积极乌托邦”策略：那就是在东-西方，两岸及台湾本省人和外省人的关系和两性形象中搭建一座座“桥梁”，这样的“桥梁”极具包容性，在这个国与国频繁交流的全球化时代，其社会学意义是巨大的，这是本论文研究的现实目的和价值所在。本文研究架构上将围绕李安这个受“压抑”的“陌生人”如何在东西方、历史和性别之间筑起一道道形态各异而又殊途同归的影视“桥梁”，从而来掌握与理解李安电影在东-西，历史和性别之间的“桥梁”特质。文中我们将分析不论是从对东西方两种性质“压抑”的各自反思到试图在电影《少年派》中融合东-西方；还是《色|戒》中通过王佳芝加入“历史”层次的表演解构集体历史记忆后再结构共同的抗日记忆的努力；亦或是大胆地僭越性别规范再塑造出阴阳互文的理想性别主体的招数，它们都是李安这个“陌生人”构建积极乌托邦的“桥梁梦”。而且他们沿着的皆为对构成自己“压抑”的两端进行叛逆和疏离，然后再试图用客观性和相对性整合“压抑”两端的先“破”后“立”的逻辑思路。本论文涉及到的理论知识有电影作者论，社会学“陌生人”理论，心理学家荣格和拉康的相关知识，叙述学以及性别表演等，它们都成为本文综观“陌生人”李安电影的肌理特质的一个个显微镜与绘制李安电影中的“桥梁梦”的具体形象的一支支彩色笔。
[Abstract]:"Stranger" is a term put forward by the sociologist Zimmel, and then developed by many sociologists from different angles. "the Central Plains Culture" "complex" has led Taiwan film director Ang Lee to repeatedly emphasize his "outsider" identity (Taiwanese mainlanders, Taiwan compatriots, Chinese-Americans). This resonates with the theory of "stranger" in sociological research. "homelessness": the similar encounter in "modern nation-state"; Cross-border: overlapping style and quality. In fact, the identity of "Strangers" plays a central role in the creation of Ang Lee's films. On the one hand, it makes the theme of his films revolve around "repression". This is the inevitable anxiety of "strangers" who are "marginal" and "homeless" in modern nation-state; On the other hand, "crossing the border" also makes the "stranger", who has an objective and free perspective, become passive and active. Try to use the film to create their own "stranger" identity of the parties to develop a "stranger" of the "positive utopia" strategy: that is, in the East and West. "Bridges" have been built in the relations and images of mainlanders and mainlanders across the Taiwan Strait and Taiwan. Such "bridges" are extremely inclusive and are in an era of globalization in which countries frequently communicate with each other. Its sociological significance is enormous, which is the realistic purpose and value of this paper. This paper focuses on how Ang Lee, a repressed stranger, builds a "bridge" between East and West, history and gender. In order to grasp and understand Lee's films in the East-West. The "bridge" between history and gender. In this paper, we will analyze whether it is from the reflection of the "repression" of the East and the West to the attempt to integrate the East and the West in the film "the Juvenile School". Or "Lust caution" through Wang Jiazhi to join the "history" level of performance to deconstruct collective historical memory after the structure of the common anti-Japanese memory efforts; Or boldly overstep the gender norms and then shape the ideal gender subject of Yin and Yang intertextuality. They are the "bridge dreams" of Ang Lee, a stranger, to build an active utopia, and they are all following the rebellious and alienating ends that constitute their own "repression". Then try to use objectivity and relativity to integrate the logical thought of "breaking" before "standing" at both ends of "depression". The theoretical knowledge involved in this thesis includes film author theory, sociological "stranger" theory, the knowledge of psychologists Jung and Lacan, narratology and gender performance, and so on. All of them have become a color pen in this paper, which is the microscope of the texture characteristics of Ang Lee's film "Strangers" and the concrete image of "Bridge Dream" in Ang Lee's films.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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