娄烨电影的女性意识研究
发布时间：2018-07-23 08:46
【摘要】：女性电影的形成要追溯到19世纪欧洲女权主义的诞生,从女权主义兴起到流入中国,大概经历了100年之久,它伴随着女权主义运动而发展,在结合了我国文化符号和意识层面等多重领域的性别意识化建构之后,在20世纪70年代作为女性理论的分支而出现。这种从政治领域转向文化艺术领域的变革最主要的目的在于将女性形象从男性世界的控制中解脱出来,而女性意识的艺术化展现则是基于电影的现实化构建,综合运用影视手法,表明女性现实诉求及心理现实走向的影视化呈现。论文的绪论从娄烨电影作品目前在学术领域的研究类别、研究方向作为切入点,综合研究问题分析国内研究现状,总结出目前学术界对于娄烨及其电影的主攻研究方向涉及到对娄烨本人及其作品研究以及将娄烨放于第六代导演群体中作对比分析这两方面。将女性主义电影理论作为切入点,结合娄烨影片中女性人物形象建构和叙事策略表现,引出娄烨电影中女性意识探究这一论题,表明女性意识在性别机制下的主体性介入以及在当代的意义延伸。第一部分从女性与电影两大类别进行关联性建构,论述了女权主义到女性主义的演变,直至女性主义电影理论的出现,归结出女性所面临的主体性缺失问题,即影像表达中女性自由意识与自身觉醒的必要性,并结合多方面文献资料给出了本文中女性主义的定义。第二部分主要介绍娄烨的电影之路,内容涉及到其家庭氛围影响和早期工作经历所带来的艺术化熏陶以及娄烨影视风格的形成,采取诗意现实化镜头展现手法,规避主观存在的干扰,力图展现活生生的场景和故事,具有极强的代入感。这种娄式风格的电影让娄烨成为了名副其实的游走于“地上电影”与“地下电影”创作的个性化导演。第三部分是论文研究的核心部分,是对女性意识身份建构的研究。首先提出女性身份的认同,以佛洛依德的人格结构理论和拉康的镜像理论作为观点依据,从而进一步探究影片中女性自我理想与理想自我的分裂和矛盾;其次将女性的主体性作为研究方向,结合影片详细剖析了处于精神抗争与原欲释放过程中寻求平衡点的女性角色;再次是娄烨电影中女性人物隐忍中的沉迷气质探究,即女性气质的全面解读,由此外化出基于观视驱动下娄烨影片中所呈现出的孤独、隐忍又令人沉迷的女性角色形象。另外,在研究女性意识身份建构的同时,笔者认为作为形象承担者的女性和作为观看者的男性间又包含着两方面的矛盾:男性所产生的阉割恐惧与性别机制下女性仍处于被看的尴尬境地,这无异于对性别本身的无谓消解,所以笔者认为女性气质的研究仍需进一步关注和探讨。第四部分仍是本论文关注的重点部分,主要以电影中女性意识建构的叙事策略作为论述点,涵盖了女性叙述视角、叙事声音以及人物设置三方面内容,涉及到情感审视、异化的母亲形象以及“同妻”现象和“男同”的女性意识等方面的解读,从而共同构成了导演的艺术认知和女性表达策略。论文的第五部分以女性意识的再思考作为如上论文内容的承接,以承担者、受害者、痴情者和复仇者的形象代表了当今社会的类型化女性群体人物,成为女性意识社会化再思考的又一研究层面。本文力图通过研究、分析娄烨电影中的女性人物形象,展现剧中人物在社会翻覆变迁中的内心蜕变,人格意识的觉醒,生存状态的强烈渴望等方面的生命体验,继而在多元文化世界中构建真正的女性独立、自醒意识,呼吁更多导演真正关注女性内心生命渴望和生存价值,以客观、冷静、真实的视角深入到广大女性群体的心理现实走向和生命体验诉求。
[Abstract]:The formation of female movies should be traced back to the birth of feminism in Europe in nineteenth Century. It has been about 100 years since the rise of feminism to China. It developed with feminist movement. After the construction of gender awareness in multiple fields, such as cultural symbols and consciousness, it was used as a female theory in 1970s. The main purpose of the change from the political field to the cultural and artistic field is to free the female image from the control of the male world, while the artistic expression of the feminine consciousness is based on the realistic construction of the film, and the application of the film and television techniques to show the reality of women and the trend of psychological reality. The introduction of the thesis is from the research category of Lou Ye's film works in the academic field and the research direction as an entry point, the comprehensive research on the current situation of domestic research, and the conclusion that the main research direction of Lou Ye and his films in the current academic circles involves the study of Lou Ye himself and his works and the release of Lou Ye in sixth. The two aspects of contrast analysis are made in the generation of the generation of directors. Taking the feminist film theory as a breakthrough point, combining the construction of female characters and the narrative strategy in Lou Ye's films, the thesis leads to the topic of female consciousness exploration in Lou Ye films, which shows the subjective intervention of female consciousness in the gender mechanism and the extension of contemporary significance. From the two major categories of female and film related construction, this paper discusses the evolution of feminism to feminism, and the emergence of feminist film theory, and sums up the problem of the lack of subjectivity that women face, that is, the necessity of women's free consciousness and self awakening in the image expression. The second part mainly introduces the way of Lou Ye's film, which involves the artistic edification of his family atmosphere and the early work experience, as well as the formation of Lou Ye's film and television style. It takes a poetic and realistic lens display to avoid the subjective interference and tries to show the living scenes and stories. The third part is the core part of the study of the thesis and the research on the identity construction of female consciousness. First, the identity of female identity is put forward, and the third is the person of Freud. The theory of lattice structure and Lacan's mirror theory are used as the basis to further explore the split and contradiction between the female self ideal and the ideal self in the film. Secondly, the female role as the research direction is taken as the research direction, and the female role in seeking balance between the spiritual resistance and the original desire release is analyzed in detail. The study of the obsessive temperament of the female characters in the film, that is, the overall interpretation of the femininity, reveals the loneliness, the forbearance and the indulgence of the female characters in Lou Ye's films based on the view driven. In addition, in the study of the identity construction of women's consciousness, the author thinks that the female as a bearer of the image and the image of the female. The male, as a viewer, contains two contradictions: the male's castration fear and the gender mechanism are still in the embarrassed situation of being seen, which is no more than the meaningless elimination of the sex itself, so the author thinks that the study of femininity still needs further attention and discussion. The fourth part is still the focus of this paper. Part, mainly taking the narrative strategy constructed by female consciousness in the film as the discussion point, covering the female narrative perspective, narrative voice and character setting three aspects, involving emotional examination, the alienated mother image and the interpretation of "the same wife" phenomenon and the "male" female consciousness, thus forming the director's art together. The fifth part of the thesis takes the rethinking of feminine consciousness as the undertaking of the content of the thesis. The image of the bearer, the victim, the infatuated and the vengeance represents the type of the feminine group in the present society, and has become another research aspect of the socialization of the feminine consciousness. The analysis of the image of the female characters in Lou Ye's films shows the life experience of the characters in the changes of the social overturn, the awakening of personality consciousness, the strong desire for the state of existence, and the construction of the true female independence in the multicultural world, and the consciousness of self awakening, and calls for more directors to really pay attention to the inner life of women. The value of aspiration and survival has penetrated into the psychological reality and the life experience of the vast majority of women in an objective, calm and real perspective.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911
本文编号：2138853
[Abstract]:The formation of female movies should be traced back to the birth of feminism in Europe in nineteenth Century. It has been about 100 years since the rise of feminism to China. It developed with feminist movement. After the construction of gender awareness in multiple fields, such as cultural symbols and consciousness, it was used as a female theory in 1970s. The main purpose of the change from the political field to the cultural and artistic field is to free the female image from the control of the male world, while the artistic expression of the feminine consciousness is based on the realistic construction of the film, and the application of the film and television techniques to show the reality of women and the trend of psychological reality. The introduction of the thesis is from the research category of Lou Ye's film works in the academic field and the research direction as an entry point, the comprehensive research on the current situation of domestic research, and the conclusion that the main research direction of Lou Ye and his films in the current academic circles involves the study of Lou Ye himself and his works and the release of Lou Ye in sixth. The two aspects of contrast analysis are made in the generation of the generation of directors. Taking the feminist film theory as a breakthrough point, combining the construction of female characters and the narrative strategy in Lou Ye's films, the thesis leads to the topic of female consciousness exploration in Lou Ye films, which shows the subjective intervention of female consciousness in the gender mechanism and the extension of contemporary significance. From the two major categories of female and film related construction, this paper discusses the evolution of feminism to feminism, and the emergence of feminist film theory, and sums up the problem of the lack of subjectivity that women face, that is, the necessity of women's free consciousness and self awakening in the image expression. The second part mainly introduces the way of Lou Ye's film, which involves the artistic edification of his family atmosphere and the early work experience, as well as the formation of Lou Ye's film and television style. It takes a poetic and realistic lens display to avoid the subjective interference and tries to show the living scenes and stories. The third part is the core part of the study of the thesis and the research on the identity construction of female consciousness. First, the identity of female identity is put forward, and the third is the person of Freud. The theory of lattice structure and Lacan's mirror theory are used as the basis to further explore the split and contradiction between the female self ideal and the ideal self in the film. Secondly, the female role as the research direction is taken as the research direction, and the female role in seeking balance between the spiritual resistance and the original desire release is analyzed in detail. The study of the obsessive temperament of the female characters in the film, that is, the overall interpretation of the femininity, reveals the loneliness, the forbearance and the indulgence of the female characters in Lou Ye's films based on the view driven. In addition, in the study of the identity construction of women's consciousness, the author thinks that the female as a bearer of the image and the image of the female. The male, as a viewer, contains two contradictions: the male's castration fear and the gender mechanism are still in the embarrassed situation of being seen, which is no more than the meaningless elimination of the sex itself, so the author thinks that the study of femininity still needs further attention and discussion. The fourth part is still the focus of this paper. Part, mainly taking the narrative strategy constructed by female consciousness in the film as the discussion point, covering the female narrative perspective, narrative voice and character setting three aspects, involving emotional examination, the alienated mother image and the interpretation of "the same wife" phenomenon and the "male" female consciousness, thus forming the director's art together. The fifth part of the thesis takes the rethinking of feminine consciousness as the undertaking of the content of the thesis. The image of the bearer, the victim, the infatuated and the vengeance represents the type of the feminine group in the present society, and has become another research aspect of the socialization of the feminine consciousness. The analysis of the image of the female characters in Lou Ye's films shows the life experience of the characters in the changes of the social overturn, the awakening of personality consciousness, the strong desire for the state of existence, and the construction of the true female independence in the multicultural world, and the consciousness of self awakening, and calls for more directors to really pay attention to the inner life of women. The value of aspiration and survival has penetrated into the psychological reality and the life experience of the vast majority of women in an objective, calm and real perspective.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911
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