论黄真真电影的女性书写

发布时间：2018-11-14 09:55

【摘要】：在香港多样化的社会文化熏陶下,孕育出了许多具有独特风格的电影导演,女性导演黄真真就是其中之一。从最初港味十足的《女人那话儿》、《六楼后座》,再到近年转战内地的《被偷走的那五年》、《消失的爱人》等作品,她的每部电影的风格与题材都不尽相同,但她的女性关怀却始终如一。黄真真的影片基本上都以女性为表现对象,塑造了一系列性格迥异但都生动形象女性形象,真实展示了当代女性的风貌。但她并没有止步于此,在塑造女性形象的同时她的影片也强调女性的个体存在价值,她用独特的书写手段展现着女性观察到的世界,影片中流露出来的女性价值取向正是她对女性群体的深深关怀。本文通过对黄真真影片的女性书写解读,给现代女性的女性意识和女性地位带来反思的机会,使女性能够重构自身的价值体系和生活方式,以期为女性电影的发展提供借鉴。本文首先对“女性书写”理论进行了概述,提出了“女性书写”的内涵及其现实意义,并将此理论从文学领域延伸到了影视领域。其次简要的介绍了黄真真的个人经历,并对其电影创作进行了系统的梳理,为全面理解文章打下了基础。其中,重点对黄真真影片中的塑造的女性形象进行了细致的类型划分。通过对比研究和个案分析法,笔者将女性主角分为独立自主的现代女性、徘徊于传统与现代之间的女性、男权中心下的传统女性三种类型,并探讨了母亲与闺蜜两种配角形象在其影片中的存在意义。通过分析研究黄真真电影中的女性形象,可以直观的揭示黄真真女性书写的立场与姿态,感受到她作为“女性书写者”的自觉。另外,从黄真真影片的本体出发,本文通过对其电影题材、影片视角以及视觉表达的文本细读,探讨黄真真影片的艺术表现手法,诠释她在女性书写创作上的独特之处与艺术价值,为“女性书写”理论指导下的女性主义电影创作提供新的思路。最后站在文化角度上,提取了黄真真影片中较为突出的价值取向进行了分析,借此揭示黄真真温和的女性意识与坚定的女性立场,并指出黄真真的创作为“女性书写”的根本所在。
[Abstract]:Under the influence of Hong Kong's diverse social culture, there are many unique film directors, including female director Huang Zhenzhen. From the original Hong Kong style of "Women's talk", "the back seat on the sixth floor", to the recent transition to the mainland, "the five years stolen" and "lost Love" and other works, each of her films has different styles and themes. But her care for women has always been the same. Huang Zhenzhen's films basically take the female as the performance object, has molded a series of different disposition but all vivid image feminine image, has displayed the contemporary feminine style. But she didn't stop there. While she was portraying women, her films also emphasized the value of women's individual existence, and she used her unique writing techniques to show the world that women had observed. The female value orientation revealed in the film is her deep concern for the female group. Through the interpretation of Huang Zhenzhen's female writing, this paper brings the opportunity to reflect on the female consciousness and status of modern women, so that women can reconstruct their own value system and life style, in order to provide reference for the development of female films. This paper first summarizes the theory of "female writing", puts forward the connotation of "female writing" and its practical significance, and extends this theory from the literary field to the field of film and television. Secondly, it briefly introduces Huang Zhenzhen's personal experience, and systematically combs his film creation, which lays the foundation for an overall understanding of the article. Among them, the focus of Huang Zhenzhen film on the portrayal of the female image of a detailed classification. Through comparative study and case analysis, the author divides the female protagonist into three types: the independent modern woman, the woman wandering between tradition and modern, the traditional female under the center of male power. It also discusses the significance of supporting roles of mother and best friend in their films. By analyzing and studying the female images in Huang Zhenzhen's films, we can intuitively reveal the position and posture of Huang Zhenzhen's female writing, and feel her consciousness as a female writer. In addition, starting from the Noumenon of Huang Zhenzhen's film, this paper discusses the artistic expression of Huang Zhenzhen's film by reading the text of his film theme, movie angle and visual expression. It interprets her uniqueness and artistic value in female writing, and provides a new way of thinking for feminist film creation under the guidance of female writing theory. Finally, from a cultural point of view, the author extracts the more prominent value orientation in Huang Zhenzhen's film and analyzes it, thereby revealing Huang Zhen's gentle female consciousness and firm female stand. It also points out that Huang Zhenzhen's creation is the root of female writing.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911

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