新世纪以来海峡两岸女性电影对照研究

发布时间：2018-05-08 04:30

本文选题：女性电影 + 性别议题　；参考：《厦门大学》2014年硕士论文

【摘要】：本文以新世纪以来海峡两岸女性电影为研究对象,选取了较具代表性的相同议题的女性电影进行对照研究,试图从性别视角切入,对同类电影中人物形象、故事类型、叙事逻辑、主题类型、文化诉求等多个层面进行分析,解读出在不同的社会文化语境下两岸女性电影呈现的不同特点。本文分绪论、正文、结语三个部分。绪论部分简要介绍论文的研究现状、研究方法及本文突破点,并对本文的研究对象和文中涉及的女性电影的概念做出明确界定。正文部分分为三章：第一章,从社会文化语境的角度,梳理了两岸女性主义发展轨迹和两岸女性电影历史递变,将两岸女性文学领域和女性电影领域的发展历史进行横向和纵向的对照,展现两岸女性主义文学与电影多元化的创作成果,表达了女作家和女导演对于性别自身的反省和关照,为后面章节进行女性电影对照研究提供理论前提。第二章,从不同世代女性的性别生存境遇、女性心灵世界的探析、女同性恋三个维度介入研究,透过对两岸女性电影的文本细读,反映出女性真实的情感境遇、生命体验及人性欲求,传达出蕴含在两岸电影中的女性独特意识,有力地折射出当代中国女性面对的真实困境,同时也凸显出两岸女性电影艺术创作风格的相似性与特异性。第三章,围绕性别议题与其他议题的纠缠,把性别缝合进阶层、空间和文化中,对新世纪两岸女性电影进行对照研究,探究两岸女性电影的多元文化诉求,这也标志着女性电影从关注个人、族群、阶级到关注宏大历史的变化。结语部分对全文观点进行了总结。
[Abstract]:This paper takes the women's films on both sides of the Taiwan Strait since the new century as the research object, and selects the more representative female films on the same topic for a comparative study, and tries to analyze the characters and story types of the similar films from the perspective of gender. Through the analysis of narrative logic, theme type and cultural appeal, the author interprets the different features of cross-Strait female films in different social and cultural contexts. This paper is divided into three parts: introduction, text and conclusion. The introduction part briefly introduces the research status, research methods and breakthrough points of this paper, and makes a clear definition of the research object and the concept of female film involved in this paper. The text is divided into three chapters: The first chapter, from the perspective of social and cultural context, combs the development track of feminism on both sides of the strait and the historical evolution of women's films on both sides of the strait, and compares the development history of women's literature between the two sides of the strait and that of women's films horizontally and vertically. It shows the diversified creative achievements of feminist literature and film across the Taiwan Strait, expresses the reflection and concern of female writers and directors on the gender itself, and provides the theoretical premise for the comparative study of female films in the following chapters. The second chapter, from the different generations of women's gender survival situation, the analysis of the female soul world, the three dimensions of lesbians involved in the study, through the cross-Strait women's film text, reflect the true emotional situation of women. Life experience and human desire convey the unique consciousness of women contained in cross-strait films, which reflects the real predicament faced by contemporary Chinese women, and also highlights the similarity and specificity of the artistic creation style of cross-strait women's films. The third chapter, focusing on the entanglement of gender issues with other issues, sews gender into class, space and culture, and carries out a comparative study of the cross-Strait women's films in the new century to explore the multicultural demands of cross-strait women's films. This also marks the change of women's films from focusing on individuals, ethnic groups and classes to focusing on grand history. The conclusion part summarizes the views of the full text.
【学位授予单位】：厦门大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J909.2

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