姜文电影中的女性形象研究

发布时间：2018-11-07 06:57

【摘要】：在中国新一代电影导演中，姜文作为不可多得的怪才，以自己对电影叙事的独特理解，塑造出了许多生动的人物形象。在其导演的四部电影作品中，人物形象不再是中国早期电影中单向度的扁平人像，许多鲜明人物形象被成功塑造的同时，还被深深的打上了姜文独特风格的烙印。而在其充满“姜氏色彩”、习惯于充斥着血性“纯爷们儿”的男性人物形象的电影中，女性人物形象作为电影作品的一部分，以一种独特的姿态，形成一种既有机统一于电影叙事表达中，又独特跳脱自成一格的微妙存在。这些人物包括——《阳光灿烂的日子》里的米兰和余北蓓，《鬼子来了》里的鱼儿，《太阳照常升起》里的疯妈、唐妻、林大夫，《让子弹飞》里的县长夫人、花姐等。本文力求打破以往对姜文电影的女性人物研究领域不连续、不完整、惯于把女性人物置于单个电影背景中进行分析的怪圈，而将这些女性人物放在姜文所有四部影片的宏观大背景下，从女性主义电影理论出发，以有别于以往研究成果的全新的角度，对姜文电影中的女性人物形象进行类型划分，构筑姜文电影的女性人物群像。揭示姜文电影中男性和女性之间存在着的凝视与被凝视、掌控与被掌控、评价与被评价的两性对立关系，从而推断出在姜文电影中存在着一种对女性人物进行片面化呈现的、有失偏颇的人物塑造观，这引发了影片一系列的问题：为了满足男性视觉特权而将女性物化为男性欲望的投射，将女性身体视觉形象作为迎合大众消费和拉动票房增长的噱头并公然叫卖；为满足男性对自身性别的自大自恋，将女性作为衬托男性英雄人物的工具。这种过度压抑女性自我意识，极力宣扬男性至上的做法，，是本文极力批判之所在。而通过对这些问题的批判和反思，最终找到造成这些问题的根源是东西方共同存在的男尊女卑的文化传统，提出以消除两性对立，实现对话与融合的方式，作为这些问题的解决之道，是本文的研究意义之所在。
[Abstract]:Among the new generation of Chinese film directors, Jiang Wen, as a rare geek, has created many vivid characters with his own unique understanding of film narration. In the four films directed by him, the characters are no longer one-dimensional flat figures in the early Chinese films. Many of the vivid characters have been successfully molded, but also deeply branded with Jiang Wen's unique style. And in its films full of "Jiang's color" and accustomed to the bloody "pure man" male characters, the female characters as part of the film works, with a unique posture, It forms a subtle existence which is not only unified in the narrative expression of the film, but also unique. These characters include Milan and Yu Beibei in Sunshine, Fish in Ghost, crazy Mom, Tang wife, Doctor Lin in Sun as usual, County Priest Lady and Sister Flower in Let bullets fly. This article tries to break the previous study of Jiang Wen's female characters in the field of discontinuity, incomplete, used to put female characters in a single film background for analysis of the strange circle, Under the macro background of all four films of Jiang Wen, from the perspective of feminist film theory and from a new angle different from the previous research results, this paper classifies the female characters in Jiang Wen films. To construct the images of female characters in Jiang Wen's films. It reveals the relationship between gaze and being gazed, controlled and controlled, evaluated and evaluated between men and women in Jiang Wen's films, thus infer that there is a one-sided representation of female characters in Jiang Wen's films. The biased view of character shaping has led to a series of problems in the film: the materialization of women into the projection of male desires in order to satisfy the visual privilege of men. The visual image of female body is used as a gimmick to cater to the public consumption and pull the box-office growth and is openly sold; In order to satisfy men's arrogant narcissism about their own sex, women are used as a tool to foil male heroes. This excessive suppression of women's self-consciousness, vigorously promote the practice of male supremacy, is the most critical of this article. By criticizing and reflecting on these problems, we can finally find out that the root of these problems is the cultural tradition of the superiority of men and women, and put forward a way to eliminate the antagonism between the sexes and to achieve dialogue and integration. As a solution to these problems, is the significance of this study.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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