21世纪以来中国女性导演的电影创作探究
发布时间：2019-06-06 07:09
【摘要】：本文以女性主义电影理论为依据,选择二十一世纪以来中国女导演的电影进行分析。首先是从中国女性导演整个历时性的发展中,探寻进入21世纪以来女性导演的电影创作所发生的一些改变。其次是选取某些具有明显女性电影特色的影片进行文本细读,主要是从两个大的方面,第一是对于影片内容的女性主义解读。在对影片中塑造的女性形象以及女性独特心理和精神的深入挖掘中,探寻电影中的女性意识和女性因素。其次是有关电影语言的分析,即在电影中,女性导演如何运用电影表现女性意识,对电影语言进行性别化的读解。最后是将女性导演的主流商业电影创作与女性电影创作进行比较,凸显出女性导演在主流电影中对于女性意识的妥协与退让。 本文主要分为四个章节,以求展示21世纪以来的中国女性导演的女性电影在女性形象、女性视角、女性镜头语言等方面所绽放出来的炫丽光芒。分析得出了在商业化和主流意识形态的双重制约下,女性导演必须做到共赢才能拥有更大的市场的结论。第一章论述了女性的存在以及女性电影理论的发展流变。第二章从历时性方向对中国电影上出现过的女性导演进行梳理,概述她们的主要作品在影片内容和电影语言的运用等方面的不同追求,以及作品中呈现出来的女性意识。沿用的是代际划分的方法,从整体上把握女性导演创作群体的创作特点。对于21世纪以来的女性导演的创作特色从对于导演权力的争取、女性私人化经验的表述和类型片的僭越三个方面进行做了大致的宏观的归纳。第三章从叙事角度入手,对现代女性形象和女性情谊的精确、细腻的把握来对女性电影中表现出的女性新叙事视角进行分析。第四章分析女性电影对于传统电影语言的批判,通过对镜头语言的女性化解读,解析出女性电影特有的电影语言。结语中对主流商业电影类型中的女导演的创作进行分析,凸显女性导演在商业电影中对于女性意识的坚守与妥协。通过与女性导演商业电影的比较,针对消费时代的女性电影创作提出一些思考。
[Abstract]:Based on the feminist film theory, this paper analyzes the films of Chinese female directors since the 21 century. First of all, from the whole diachronic development of Chinese female directors, this paper explores some changes in the film creation of female directors since the beginning of the 21st century. Secondly, some films with obvious female film characteristics are selected for careful reading, mainly from two aspects, the first is the feminist interpretation of the film content. In the deep excavation of the female image and the unique psychology and spirit of the film, this paper explores the female consciousness and female factors in the film. The second is the analysis of the film language, that is, in the film, how female directors use the film to express female consciousness and read the film language sexualized. Finally, the mainstream commercial film creation of female directors is compared with that of female film creation, which highlights the compromise and concession of female directors to female consciousness in mainstream films. This paper is divided into four chapters in order to show the dazzling light of female films directed by Chinese women since the 21st century in the aspects of female image, female perspective, female lens language and so on. Under the dual restriction of commercialization and mainstream ideology, it is concluded that female directors must win-win in order to have a larger market. The first chapter discusses the existence of women and the development of female film theory. The second chapter combs the female directors who have appeared in Chinese films from the diachronic direction, and summarizes the different pursuits of their main works in the aspects of film content and the use of film language, as well as the female consciousness in their works. The method of intergenerational division is used to grasp the creative characteristics of female directors as a whole. This paper makes a general macro summary of the creative characteristics of female directors since the 21st century from three aspects: the struggle for director power, the expression of female privatization experience and the overstepping of type films. The third chapter analyzes the new narrative perspective of women in female films from the narrative point of view, the accurate and delicate grasp of modern female images and female friendship. The fourth chapter analyzes the criticism of the traditional film language in the female film, and analyzes the unique film language of the female film through the female reading of the lens language. In the conclusion, the author analyzes the creation of female directors in the mainstream commercial film types, and highlights the adherence and compromise of female directors to female consciousness in commercial films. Through the comparison with the commercial film of female director, this paper puts forward some thoughts on the creation of female film in the era of consumption.
【学位授予单位】：兰州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
本文编号：2494162
[Abstract]:Based on the feminist film theory, this paper analyzes the films of Chinese female directors since the 21 century. First of all, from the whole diachronic development of Chinese female directors, this paper explores some changes in the film creation of female directors since the beginning of the 21st century. Secondly, some films with obvious female film characteristics are selected for careful reading, mainly from two aspects, the first is the feminist interpretation of the film content. In the deep excavation of the female image and the unique psychology and spirit of the film, this paper explores the female consciousness and female factors in the film. The second is the analysis of the film language, that is, in the film, how female directors use the film to express female consciousness and read the film language sexualized. Finally, the mainstream commercial film creation of female directors is compared with that of female film creation, which highlights the compromise and concession of female directors to female consciousness in mainstream films. This paper is divided into four chapters in order to show the dazzling light of female films directed by Chinese women since the 21st century in the aspects of female image, female perspective, female lens language and so on. Under the dual restriction of commercialization and mainstream ideology, it is concluded that female directors must win-win in order to have a larger market. The first chapter discusses the existence of women and the development of female film theory. The second chapter combs the female directors who have appeared in Chinese films from the diachronic direction, and summarizes the different pursuits of their main works in the aspects of film content and the use of film language, as well as the female consciousness in their works. The method of intergenerational division is used to grasp the creative characteristics of female directors as a whole. This paper makes a general macro summary of the creative characteristics of female directors since the 21st century from three aspects: the struggle for director power, the expression of female privatization experience and the overstepping of type films. The third chapter analyzes the new narrative perspective of women in female films from the narrative point of view, the accurate and delicate grasp of modern female images and female friendship. The fourth chapter analyzes the criticism of the traditional film language in the female film, and analyzes the unique film language of the female film through the female reading of the lens language. In the conclusion, the author analyzes the creation of female directors in the mainstream commercial film types, and highlights the adherence and compromise of female directors to female consciousness in commercial films. Through the comparison with the commercial film of female director, this paper puts forward some thoughts on the creation of female film in the era of consumption.
【学位授予单位】：兰州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
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