韩国鬼片中女性作为叙事主体的成因解读

发布时间：2018-04-06 05:20

本文选题：韩国　切入点：鬼片　出处：《云南大学》2015年硕士论文

【摘要】：本文通过对韩国鬼片的分析,梳理出韩国鬼片发展的脉络及特点,着重探究女性成为鬼片主体的原因。通过对52部韩国鬼片的文本分析,发现韩国鬼片最鲜明特色是以女性作为主体,女鬼游荡世间的主要目的是复仇,取材多源于社会现实。以核心家庭为主的韩国社会,在家庭、职场中,女性难以处于权力中心,她们被边缘化、物化,成为被欺凌者。然而,鬼片中将女性(女鬼)作为叙事主体,打破原有的男性英雄主义传统,通过超能力,使原本弱小的女性成为权力中心,由她来操纵游戏规则,大众要臣服于这个规则之下,一旦越矩就会受到惩罚。韩国鬼片以女性作为叙事主体,用虚构的影像彰显女性话语权,女性被建构为权力把持者。影视作品往往和现实相互呼应,鬼片中这样的安排照应韩国现实社会。身处儒家文化圈的韩国社会,遵从严格的礼教规则,男女分工明确,各司其职。这样的性别文化传统不时渗透在日常生活的每个角落,家庭教育和学校教育强化这样的身份认同,同时,女性时刻处于大众的隐性监视之下,“惩罚”对她们具有威慑力。在一个两性地位不平等的国家,韩国传统的民族性“恨”易在女性身上发酵。作为大众文化重要构成部分的鬼片,遵从大众文化生产的逻辑,以获取利润为目的,通过制作荧幕奇观,获取观众的视觉凝视,使观众获得视觉快感。消费社会之下,通过消费女性的身体,商家和消费者一起完成了一次视觉狂欢。现实生活中男性把持权力,主流意识形态维护男性霸权,男性通过“霸权”气质向“共谋”性气质的转变,收编这个体制的“反叛者”,并在鬼片中植入了这样的观点。同时,作为对外传播的重要构成部分,鬼片同韩剧一起走向世界。作为塑造国家形象“组合拳”的一部分,韩国鬼片体现韩国特色,与世界各国一争高下。韩国鬼片融入民族文化,形成自己的特色,塑造韩式恐怖美学。这样的设计很成功,韩恐短期内崛起,横扫国际市场,形成一股强劲的韩流,再次风靡世界。
[Abstract]:Based on the analysis of Korean ghost film, this paper analyzes the development of Korean ghost film and explores the reasons why women become the subject of ghost film.Through the text analysis of 52 Korean ghost films, it is found that the most distinctive feature of Korean ghost films is that women are the main body, the main purpose of female ghost loitering in the world is revenge, and most of the materials are derived from social reality.In a Korean society dominated by nuclear families, it is difficult for women to be in the center of power at home and in the workplace. They are marginalized, materialized and bullied.However, the ghost film takes the female (female ghost) as the narration subject, breaks the original male heroism tradition, through the super ability, causes the originally weak female to become the power center, lets her control the game rule.The public are subject to this rule and will be punished if they cross the line.Korean ghost film takes the female as the narration subject, uses the fictional image to show the female discourse right, the female is constructed as the power holder.Film and television works and reality often echo each other, ghost film in such arrangements to look after the real society in Korea.In the Confucian cultural circle of Korean society, comply with strict rules of etiquette, men and women a clear division of labor, their respective duties.Such cultural traditions of gender permeate every corner of daily life from time to time, family education and school education strengthen such identity, at the same time, women are always under the hidden surveillance of the public, "punishment" is a deterrent to them.In a country with unequal gender status, South Korea's traditional ethnic hatred is simmering on women.As an important part of popular culture, ghost film obeys the logic of mass culture production and aims at making profits. By making screen spectacles, it obtains the visual gaze of the audience and makes the audience get visual pleasure.Under the consumer society, through consuming the female body, the merchant and the consumer completed a visual carnival together.In real life, men hold power, mainstream ideology upholds male hegemony, men transform from "hegemonic" temperament to "conspiracy" sexual temperament, collect the "rebels" of this system, and implant such a view in ghost films.At the same time, as an important part of external communication, ghost films and Korean dramas go to the world.As a part of shaping the national image, Korean ghost film embodies Korean characteristics and competes with other countries in the world.Korean ghost film into national culture, forming its own characteristics, shaping the Korean aesthetics of terror.Such design is very successful, South Korean terror short-term rise, sweep the international market, form a strong Korean current, again popular around the world.
【学位授予单位】：云南大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J905

【参考文献】