挑战不洁：王颖电影对中国城和中国的再呈现

发布时间：2018-05-08 01:41

本文选题：王颖电影 + 中国城　；参考：《北京外国语大学》2017年硕士论文

【摘要】：华裔美国人的形象在好莱坞电影中并不少见但直到20世纪80年代,他们才真正有机会在银幕上发出属于自己的声音。而在此之前,华裔形象一直处于白人的操控之下,诞生了一系列带种族偏见的深入人心的人物,例如傅满洲,查理陈等。美籍华裔导演王颖正是通过电影探索华裔形象和身份的先驱者。他的作品影响深远,包括《寻人》(1982),《点心》(1985),《吃一碗茶》(1989),《生活便宜……但厕纸很贵》(1989),《喜福会》(1993),《中国盒子》(1997),《内布拉斯加公主》(2008),《雪花秘扇》(2011)。王颖出生于香港,受其父影响自小崇尚美国文化,本科于美国就学,毕业后返回香港,不久又前往美国并在中国城打工。正是他这种典型的教育和移民经历,丰富了他对华裔美国人身份建构的认识,也为他展现中国文化打下了基础。基于华裔在美国少数族裔中的重要地位以及王颖在华裔美国电影方面的建树,对他的研究比较丰富,中美双方学者都有涉及。然而纵观已有文献,在华人和中国人角度方面仍存在不少缺陷:第一,对于王颖电影的研究缺乏有效而深入的理论解读;第二,研究对象单一,多集中于《寻人》一部电影,因一木而忽略了一片林;第三,中国学者一致批判王颖是东方主义的帮凶因为其电影中存在大量对中国城和中国的负面表征。由此,本文提出了以下问题,希望可以进一步丰富对王颖以及华裔电影的研究:第一,如何理解中国城和中国的不洁?第二,王颖如何在他的电影中质询和挑战中国城和中国的不洁地位和内涵?针对以上问题,本文选取了王颖华裔电影中深入探讨中国城和中国的四部电影作为案例分析的文本,即《寻人》,《点心》,《喜福会》,《内布拉斯加公主》,采用结合社会政治背景的文本分析方法进行分析,以增加对王颖和华裔美国电影的理解。本文采用朱莉亚·克里斯蒂瓦的抑斥理论作为理论框架。抑斥理论着重于个体或群体如何形成其独立的主体性,强调这一过程必须通过压抑和排斥内部外部的不良影响才能实现,且这一过程必然是动乱的,激烈的。经分析,本文得出以下结论。中国城和中国之所以被归为不洁是因为白人希望保住他们自身的主体性和优越性。然而,包括王颖在内的华裔导演通过他们的电影颠覆了中国城和中国的不洁身份。以王颖电影为例,具体而言,一方面,为了挑战中国城的不洁身份,王颖以富有个性化的方式描绘了居住在中国城中的华裔美国人,强调了他们的人性,个性和多样性。如此,观众得以通过移情而反思强加在中国城上的不洁内涵。另一方面,为了质疑中国的不洁身份,王颖在电影中将他们以和东方主义幻想一致的不洁的形象展示,以此返回窥视的白人的凝视并破坏他们在抑斥过程中获得的窥视的快感,引发对不洁的反思。如此,中国的不洁身份得以被审视和挑战。
[Abstract]:The image of Chinese Americans is not uncommon in Hollywood movies, but it was not until 1980s that they had a real chance to make their own voice on the screen. Before that, the Chinese image had been manipulated by the white people, born of a series of racially biased people, such as Fu Manzhou, Charlie Chen and so on. Chinese American director Wang Yingzheng is a pioneer in the exploration of Chinese image and identity through movies. His works have far-reaching influence, including < search for man > (1982), "snack" > (1985), "eat a bowl of tea" (1989), "cheap life", but toilet paper is expensive > (1989), < Joy Luck > (1993), "Chinese box > (1997)", "Nebraska Princess > (2008)", "Snow Flower Secret Fan > (2011)"). Born in Hongkong, he was influenced by his father in the American culture. He was in the United States and studied in the United States. He returned to Hongkong after graduation. He soon returned to the United States and worked in the Chinese city. It was his typical educational and immigrant experience that enriched his understanding of the construction of Chinese American identity and laid the foundation for his Chinese culture. The important status of the ethnic minorities and the achievements of Wang Ying in Chinese American films are rich in his research, and the scholars of both China and the United States have been involved. However, there are still many shortcomings in the Chinese and Chinese perspectives. First, there is a lack of effective and in-depth theoretical interpretation for the study of Wang Yingdian's shadow; second, The research object is single, mostly concentrating on a film of "looking for people" and ignoring a piece of wood for a wood. Third, Chinese scholars consistently criticize Wang Ying as an accomplice of Orientalism because there are a large number of negative representations of China and China in the film. Thus, this paper puts forward the following questions, hoping to further enrich the Wang Ying and Chinese American electricity. The first, how to understand the unclean of Chinese city and China? Second, how does Wang Ying inquiries and challenge the unclean status and connotation of China's city and China in his films? In view of the above questions, this article selects the text of the four films in Chinese city and China as the case analysis in the Chinese film of Wang Ying, that is, "seeking", < point. In order to increase the understanding of Wang Ying and Chinese American films, this article uses Julia Christian repulsion theory as the theoretical framework. The repulsion theory focuses on how individuals or groups form their independent subjectivity. The process must be achieved by repressing and excluding the internal and external effects of the internal and external effects, and this process is bound to be turbulent and intense. After analysis, this article draws the following conclusions. The reason why the Chinese city and China are classified as unclean is because the white people want to preserve their own ownership and superiority. However, China, including Wang Ying, is in China. On the one hand, in order to challenge the unclean identity of the Chinese city, Wang Ying portrayed the Chinese Americans living in the city in a personalized way, emphasizing their human nature, personality and diversity. In this way, the audience got the Wang Ying film, for example, as an example. To reflect on the unclean connotation imposed on the Chinese city by empathy, on the other hand, in order to question China's unclean identity, Wang Ying displayed them in the film with the unclean image of the Orientalism fantasy, returning the gaze of the whites and destroying the snooping pleasure of their reprimand and causing the unclean. In view of this, China's unclean status has been scrutinized and challenged.

【学位授予单位】：北京外国语大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911

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