资本、受众与“网生代电影”女性人物谱
发布时间：2019-04-10 07:27
【摘要】：本文指出"网生代电影"所塑造的人物形象是受众参与创作,为受众所创作,体现了受众在当下社会语境中的态度、欲望和审美;其次,本文解读"网生代电影"塑造的"妥协于资本""为资本奋斗""为资本而漂泊""拥有资本""罔顾资本"的五类女性人物形象的文化意义,并区分了男性凝视中的女性和女性主义视野中的女性,指出前者映射了男性对资本逻辑的认同,承担了失意男性对创伤的宣泄,后者的"奋斗"则被爱情叙事所弱化,唯有罔顾资本的女性形象以对"性"话题的直白亮明了一种"独立"姿态。最后,受众在凝视中形成了重复指认及再度内化,从而局限了女性形象的塑造。
[Abstract]:This paper points out that the character image created by "Networked movies" is that the audience participates in the creation and is created by the audience, which reflects the audience's attitude, desire and aesthetics in the current social context. Secondly, this paper interprets the cultural significance of "compromise on Capital", "striving for Capital", "drifting for Capital", "owning Capital" and "ignoring Capital" in "Networked movies". It also distinguishes the female in the male gaze from the female in the feminist vision, pointing out that the former reflects the male's recognition of the logic of capital and undertakes the catharsis of the trauma by the frustrated man, while the latter's "struggle" is weakened by the love narrative. Only the image of women, ignoring capital, highlights an "independent" attitude to the topic of sex. Finally, audience in the gaze formed repeated identification and re-internalization, thus limiting the portrayal of women.
【作者单位】： 浙江传媒学院电影学院;
【基金】：国家新闻出版广电总局部级社科项目“‘网生代'电影变革以及政府引领策略研究”(项目编号:GD1535) 浙江传媒学院电影学学科建设阶段性成果
【分类号】：J905
，
本文编号：2455610
[Abstract]:This paper points out that the character image created by "Networked movies" is that the audience participates in the creation and is created by the audience, which reflects the audience's attitude, desire and aesthetics in the current social context. Secondly, this paper interprets the cultural significance of "compromise on Capital", "striving for Capital", "drifting for Capital", "owning Capital" and "ignoring Capital" in "Networked movies". It also distinguishes the female in the male gaze from the female in the feminist vision, pointing out that the former reflects the male's recognition of the logic of capital and undertakes the catharsis of the trauma by the frustrated man, while the latter's "struggle" is weakened by the love narrative. Only the image of women, ignoring capital, highlights an "independent" attitude to the topic of sex. Finally, audience in the gaze formed repeated identification and re-internalization, thus limiting the portrayal of women.
【作者单位】： 浙江传媒学院电影学院;
【基金】：国家新闻出版广电总局部级社科项目“‘网生代'电影变革以及政府引领策略研究”(项目编号:GD1535) 浙江传媒学院电影学学科建设阶段性成果
【分类号】：J905
，
本文编号：2455610
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