中国内地新生代女导演电影中的女性形象

发布时间：2018-03-23 13:13

本文选题：新生代女导演　切入点：女性形象　出处：《上海师范大学》2013年硕士论文

【摘要】：女性导演创作群体在中国电影界保持着独特的艺术创作风格，在中国电影百年发展中，涌现出了众多的女性形象，这些风姿各异的女性为电影增添了亮丽的风采，同时也让人久久的回味，获得美的享受以及对人生的思考。随着社会的发展变化，时至今日，新生代女性导演影片中的女性形象更是值得进行系统的研究。女性形象作为一个特殊的载体，被创作者们赋予了更多的社会、历史、经济和文化等方面的不同含义。在众多影视作品中呈现出来的女性，不同程度地被美化、理想化或者是丑化、妖魔化，和现实生活中的女性有很大的距离，因此女性形象往往出现天使与妖女、圣母与娼妓这样两种极端的形态。之所以女性形象会出现两极的形态，，可以说是男性欲望投射的结果，都不是历史或者现实生活中存在着的真实女性。尤其是在新生代导演之前的影视作品中的女性形象，通常表达了整个社会对女性的性别角色的期待，这些女性形象更多地代表了人们对理想中女性形象的再造。新生代女导演本身作为女性，对女性形象会有怎样的不同阐释和理解，本文希望作出进一步的探究和解析。近些年来，女性导演的创作实力和作品都比较突出，女性导演的队伍不断地壮大，作品也越来越受到大家的关注和认可。女性导演作品中的女性形象折射出中国当代女性自身的生存状况，以及她们在生存环境、生存压力下所呈现出的精神世界、情感世界。随着中国女性导演群落的不断发展与壮大，影视作品中的女性形象也越来越值得深入研究。随着这些女性导演执导的影片的影响力，她们也逐渐获得了观众的关注以及市场的认可，以李玉、马俪文、徐静蕾、尹丽川为代表的一批70后女性导演崛起，成为中国电影的新生力量，这些女性导演在经历个人化创作的历练后，由对个性的坚持到先后转战商业电影，试图在商业电影中占据一席之地。研究这批70后女性导演的发展对促进我国女性电影导演群体的壮大和成长、对开拓电影理论研究，将是十分有益的。本文是一篇以中国内地新生代女导演电影中的女性形象为研究着眼点的论文。本文选取近年来有影响力的新生代女导演的作品为研究文本，以《今年夏天》、《红颜》、《苹果》、《世界上最疼我的那个人去了》、《我们俩》、《牛郎织女》、《我和爸爸》等电影为样本，论述解读中国内地新生代女导演电影中的女性形象，探讨中国内地新生代女导演电影中女性形象的多元社会语境和文化语境，并且从宏观上对新生代女导演的影片进行总结和归纳。
[Abstract]:The group of female directors has maintained a unique artistic creation style in the Chinese film industry. In the century-old development of Chinese films, numerous female images have emerged, and these women with different styles have added a bright demeanour to the film. At the same time, it also makes people have a long aftertaste, enjoy beauty and think about life. With the development of society, to this day, As a special carrier, the female image has been given more social, historical, economic and cultural meanings by creators. The women who appear in many film and television works are beautified, idealized or demonized to some extent, which are far away from the women in real life, so the female images often appear angels and goblins. Two extreme forms, the Virgin Mary and the prostitute. The reason for the bipolar appearance of the female image can be said to be the result of the projection of male desire. They are not real women in history or in real life. Especially the images of women in film and television works before the new generation of directors usually express the expectation of the whole society for the gender roles of women. The new generation of female directors themselves, as women, will have different interpretation and understanding of the female image, this paper hopes to make further exploration and analysis. In recent years, the creative strength and work of female directors have been quite prominent, and the ranks of female directors have been constantly growing. The female images in the works of female directors reflect the living conditions of the contemporary Chinese women and the spiritual world they present under the pressure of living environment and survival. With the continuous development and expansion of Chinese female directors community, the female images in film and television works are more and more worthy of further study. With the influence of the films directed by these female directors, they have also gradually gained audience attention and market recognition. A group of post-70s female directors, represented by Li Yu, Ma Liwen, Xu Jinglei and Yin Lichuan, have risen. They have become a new force in Chinese films. After experiencing the experience of personal creation, these female directors have gone from persisting in personality to switching to commercial films. The research on the development of female directors after the 1970s is beneficial to the development of the group of female film directors in China and to the development of the theory of film. This paper focuses on the female images of the new generation of female directors in the mainland of China. This paper selects the influential works of the new generation of female directors in recent years as the research text. Taking films such as "Summer of this year", "Beauty", "Apple", "gone of the person who most loved me in the world", "the two of us", "Niulang Weaver Girl", "my Dad" and other films as samples, this paper discusses and interprets the female images of the new generation of female directors in the mainland of China. This paper probes into the pluralistic social and cultural context of the female images in the new generation of female directors' films in the mainland of China, and sums up and sums up the films of the new generation of female directors from the macro perspective.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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