性别视阈下的新世纪抗战题材电影

发布时间：2018-03-19 21:10

本文选题：性别　切入点：国族　出处：《广西民族大学》2014年硕士论文　论文类型：学位论文

【摘要】：抗日战争是现代中国被迫进行的规模最大，同时也是唯一的、完全胜利的反帝爱国民族解放运动，这场艰苦卓绝的战争建构了关于“中华民族”这一国族概念最广泛的身份认同，并深深影响着中国电影。而新世纪则是一个特殊的历史节点，当历史迈步进新世纪，中国的文化格局变得更加繁复驳杂，种种意识形态诉求混杂融合地共生于“共用空间”之内，形成奇异神秘的文化景观。新世纪以来在电影院线公开上映的抗战题材电影共有40部，其中多部电影都具有一定知名度，并在社会引起广泛反响，但由于当代电影，特别是进入新世纪以来电影质量良莠不齐，所以并未得到学术界的全面关注。以性别作为切入点考察新世纪抗战题材电影，是一种新的尝试。总览新世纪以来的抗战题材电影，，“雄化”的女性形象已不占主流，无论是身处私人领域还是公共领域的女性形象，都不约而同地回复了她们的自然性别，展现女性魅力。这一女性本体的浮现固然是对一元化性别秩序的超越，然而这种新的性别关系却又有可能成为造就新的性别不平等的因素，忠实于自然身份的女性同样是由新生的权力结构所制造的文化镜像。更深层的性别秘密在于，新世纪抗战题材电影数量上的繁荣并不能掩饰其自身的文化困境，在“观看”与“被看”的互动过程中，许多抗战题材电影呈现叙述主体的空洞，我们太过于在乎外在的目光从而导致自我指认的困难。从这个层面来说，新世纪抗战题材电影在参与当下文化格局、重建性别/国族叙述秩序过程中面临的障碍正是由消费话语造就的新型权利结构。而重建的可行性路径则是采取“横向政治”策略，即站在“中产阶级”立场之上，用僭越的姿态面对以父权制为代表的种种霸权，寻求有差异的表达。
[Abstract]:The War of Resistance against Japan was the largest and the only anti-imperialist patriotic national liberation movement forced to take place in modern China. This painstaking war has constructed the most extensive identity of the "Chinese nation", a national concept, and has deeply influenced Chinese films. The new century is a special historical node, and as history moves into the new century, China's cultural structure has become more complex and complex, and various ideological demands have intermingled with each other in a "shared space". Forming a strange and mysterious cultural landscape. Since the beginning of the new century, there have been 40 films about the War of Resistance that have been publicly released in the cinema, many of which are well-known and have caused widespread repercussions in society, but because of contemporary films, Especially since entering the new century, the quality of the films has been mixed, so it has not been the overall concern of the academic community. Take gender as the starting point to investigate the films of the Anti-Japanese War in the new century. An overview of the anti-Japanese movies since the new century, the images of "male" women are no longer the mainstream, both in the private sphere and in the public sector, all of them have returned to their natural gender. The emergence of this female identity is a surpassing of the unified gender order, but this new gender relationship is likely to be a factor in creating a new gender inequality. Women who are faithful to their natural identity are also a cultural mirror created by the new power structure. The deeper gender secret lies in the fact that the prosperity of the number of films on the subject of the War of Resistance against Japan in the new century cannot conceal their own cultural predicament. In the process of "watching" and "being watched", many of the films of the War of Resistance show the void of the narrative subject, and we pay too much attention to the external vision, which leads to the difficulty of self-identification. In the new century, Anti-Japanese War films participate in the present cultural pattern, and the obstacles they face in the process of reconstructing the gender / national narrative order are precisely the new right structure created by the consumption discourse, and the feasible way of reconstruction is to adopt the strategy of "horizontal politics". That is, standing on the position of "middle class", seeking different expressions in the face of all kinds of hegemony represented by patriarchy.
【学位授予单位】：广西民族大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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