女性电影的主体性研究

发布时间：2018-04-18 00:28

本文选题：女性电影 + 女性主体性　；参考：《广西师范大学》2013年硕士论文

【摘要】：女性主义电影理论诞生于上个世纪70年代,它伴随着第二次女性主义浪潮的兴起而发生,吸收了符号学、意识形态和精神分析等当时重要的结构主义和后结构主义文化理论,开辟了电影理论研究的新领域,即关于凝视的性别政治理论。当时影响最大的女性主义电影理论家英国学者劳拉·穆尔维,明确指出隐藏在电影中的性别压迫机制,并认为女性要在电影中获得主体性,必需拒绝叙事电影中性别意识形态的压迫,拒绝接受叙事电影产生的快感。然而这种拒绝并没有直面电影,而是对叙事电影的一种逃避。女性的主体性如何在电影中体现和建构成为电影理论界争论不休的问题。后女性主义理论的到来、电影文化的发展和自我完善、文化研究的兴起,使得穆尔维时代的女性主义电影理论在实际运用和解读过程中显得捉襟见肘。本文就是在这样的理论和文化背景之下,探讨女性电影对于女性主体性的建构。论文的绪论从研究背景、研究问题的提出,国内研究现状,论文意义和女性主义作为一种立场四个方面展开。从经典女性主义电影理论所带来的女性主体性难题为出发点,引出女性电影的主体性研究这一论题,表明论文的后女性主义立场并且指出论文写作研究的理论意义和现实意义。第一部分对女性电影理论的主体性缺失进行了论述。首先,阐释了“主体性”这一哲学范畴的演变以及性别对于主体性的介入,接着在对女性主义思潮的论述中提出后女性主义阶段的主体性之惑。其次在对女性主义电影理论的概述中归结出女性主体性面临的问题,即荧幕上女性形象的主体之失和性别凝视机制下的观影主体之失。第二部分是本文的主要部分,是对女性电影的主体性研究。首先对女性电影的定义和本文研究对象范围的界定,即以女性观众为考量的,具有女性意识的,自觉运用蒙太奇等叙事技法进行创作的电影；其次是对女性创作主体的研究,指出女性创作主体在女性主义者和导演身份之间的矛盾性和转换；再次是女性受众主体的研究,女性受众并不是文本分析中的那个统一的主体,而是团结在女性社会性别之下的多元的、变动不居的主体。接着从精神分析、文化研究的角度论证观影主体的快感来源,即亲密的认同、幻想的满足和协商的快乐；再次从电影叙事策略的角度,结合具体的电影文本,回应穆尔维对于叙事电影的拒绝；论文最后从消费主义和女性气质两个角度指出女性电影在文化和美学上的矛盾性。论文的第三部分是从美国及中国两个区域的女性电影的发展状况揭示女性电影造成的影响,美国很大程度上代表着世界电影的发展趋势,中国则始终是本论文希望具有的立足点,对西方的研究最终还是要回归到中国问题上来。总体来说,本文把女性电影当作商业体系之内的电影类型,但是由于它对传统叙事的刻意颠覆,在女性主体性的建构之路上,女性电影总是呈现出与主流不同的价值取向和美学风格。
[Abstract]:Feminist film theory was born in the last century in 70s, it is accompanied by the rise of the second wave feminism and the absorption, semiotics, structuralism theory was an important ideology and psychoanalysis and post structuralism culture, has opened up a new field of research on film theory, namely about gender politics theory influence gaze. The biggest feminist film theorist of the British scholar Laura Maulvi was clearly pointed out that the gender oppression mechanism hidden in the film, and that the female to get subjectivity in the movie, the film narrative must reject gender ideology in oppression, refused to accept the film narrative pleasure. However this did not refuse to face film, but a kind of escape on the narrative film. The subjectivity of women how to reflect and construct a film theory of debate after the female in the film. The theory of the arrival of the development of film culture and self perfection, the rise of cultural studies, the era of Mulvey feminist film theory is difficult in practical application and interpretation. This paper is under the background of cultural theory and so on, the female film for the construction of female subjectivity.
The introduction of the paper from the research background, research questions, research present situation, significance of the thesis and feminism as a position of four aspects. The female subjectivity problems brought from the classic feminist film theory as the starting point, the study of subjectivity leads to female film this topic, after the feminist standpoint that the and pointed out the theoretical significance and practical significance of the thesis writing.
The first part of the female film theory the main shortcomings are discussed. Firstly, explains the evolution of the "category of the philosophy of subjectivity" and gender for the intervention of the subjectivity, then put forward the stage of post feminism subjectivity confusion on feminism discourse. Secondly summarized the female subject problem faced in an overview of feminist film theory, and is the main image of women on the screen of the sex gazing mechanism under the viewing subject lost.
The second part is the main part of this paper, is the subjectivity of the female film. The first definition of female film and the definition of the scope of this study, the female audience in mind, with female consciousness, conscious use of montage narrative techniques of the creation of the film; followed by the study of female writers. The women creation subject in feminist and director of identity conflict and transformation; again is the study of the female audience of the subject, the subject is not uniform and the female audience in text analysis, but united under the women's gender diversity, unsettled subjects. Then from the analysis of the spirit, demonstrates the Perspective of cultural studies viewing the main source of pleasure, intimacy identity, fantasy and joy again meet the consultation; the narrative strategy angle, combined with the specific film text In response to Maulvi's refusal of the narrative movie, the paper finally points out the contradiction between the female movies in the two aspects of culture and aesthetics from the perspective of consumerism and femininity.
The third part is the influence from the development status of the United States and Chinese two regional women's film reveals female film caused by the United States, largely represents the development trend of world cinema, Chinese is always the hope has a foothold on the west end, or to return to the Chinese general issues. In this paper, the female film as a commercial system within the film type, but because of its deliberate subversion of the traditional narrative, in the way the construction of female subjectivity, female film always shows different from mainstream value orientation and aesthetic style.

【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】