21世纪以来中国女性导演电影中的母亲形象研究
发布时间：2019-02-18 23:11
【摘要】：自电影在中国诞生以来,在百年影史中,涌现出了众多描绘母亲的电影作品,21世纪前,电影中的母亲形象被不同程度地被美化或者是丑化。解放前的电影中,由于在时代背景和社会伦理的影响下,呈现出传统伦理载体的母亲形象以及被侮辱和践踏的“污点”式母亲形象;解放后,由政治思想对文化艺术产生的影响和反射,电影中出现了“革命母亲”、“妻母”、“圣母”等形象,这些影视作品中呈现出来的母亲形象,反应了在社会时代下男权思想对女性的全部要求,都不是母亲形象的真实呈现。进入21世纪,虽然在男性导演的作品中,还残留着具有“实用属性”的母亲形象,但随着中国女性导演的崛起,她们通过电影对母亲形象进行了真实的书写,出现了“反抗型”、“工具型”、“孤独型”、“迷茫型”、“类似型”等母亲形象,呈现出多样化的特点。编导们通过自身的女性视角,将母亲形象真实生动的描绘出来,认同女性的自我价值,在反思女性伦理和颠覆男性霸权的同时表达了细腻的情感。21世纪以来中国女性导演作品中的母亲形象充分反映了当代中国母亲在生存状况下的境遇,透露出她们真实的精神生活和情感世界。女性导演能在新的历史维度呈现母亲形象,与这些导演的个体成长历程、女性主义思潮在中国的传播、开放多元的社会环境及日益繁荣分化的电影市场等因素密切相关。21世纪女性导演以她们的艺术创作,改变了母亲形象在银幕空间的单一维度,母亲形象在真实呈现的同时,也日趋多元,但也存在人物形象单薄、角色设置的狭隘和屈服于男权秩序的弊端。在未来发展中,女性导演要在丰富题材与推动提升商业水平上下功夫,以创作出更受市场欢迎的女性电影,创作更具深度的母亲形象。
[Abstract]:Since the film was born in China, in the hundred years of film history, there have emerged many movies depicting the mother. Before the 21st century, the image of the mother in the film was beautified or uglified to varying degrees. In the film before liberation, under the influence of the background of the times and the social ethics, the image of mother as the carrier of traditional ethics and the image of "tainted" mother which was insulted and trampled; After liberation, by the influence and reflection of political thought on culture and art, the images of "revolutionary mother", "wife and mother" and "Virgin" appeared in the film and television works. It reflects all the demands of the patriarchal thought on women in the social era, and it is not the true representation of the image of the mother. In the 21st century, although there are still images of mothers with "practical attributes" in the works of male directors, with the rise of female directors in China, they have written the images of mothers through films. There are "resistance type", "tool type", "lonely type", "confused type", "similar type" and so on. Through their own female perspective, the editors depict the image of the mother vividly and identify with the self-worth of the woman. While reflecting on female ethics and subverting male hegemony, it expresses delicate feelings. The images of mothers in the works of Chinese female directors since the 21st century fully reflect the living conditions of contemporary Chinese mothers. Reveal their real spiritual life and emotional world. Female directors can present the image of mother in the new historical dimension, and the individual growth process of these directors, the spread of feminism in China, The open and pluralistic social environment and the increasingly prosperous and divided film market are closely related. With their artistic creation, the female directors in the 21st century have changed the single dimension of the image of mother in the screen space, and the image of the mother appears at the same time. It is becoming more and more diverse, but it also has the disadvantages of thin image, narrow character setting and submission to the male-dominated order. In the future, female directors will work hard to enrich the subject matter and promote the promotion of business, in order to create more popular female films and create deeper images of mothers.
【学位授予单位】：湖南工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911
本文编号：2426310
[Abstract]:Since the film was born in China, in the hundred years of film history, there have emerged many movies depicting the mother. Before the 21st century, the image of the mother in the film was beautified or uglified to varying degrees. In the film before liberation, under the influence of the background of the times and the social ethics, the image of mother as the carrier of traditional ethics and the image of "tainted" mother which was insulted and trampled; After liberation, by the influence and reflection of political thought on culture and art, the images of "revolutionary mother", "wife and mother" and "Virgin" appeared in the film and television works. It reflects all the demands of the patriarchal thought on women in the social era, and it is not the true representation of the image of the mother. In the 21st century, although there are still images of mothers with "practical attributes" in the works of male directors, with the rise of female directors in China, they have written the images of mothers through films. There are "resistance type", "tool type", "lonely type", "confused type", "similar type" and so on. Through their own female perspective, the editors depict the image of the mother vividly and identify with the self-worth of the woman. While reflecting on female ethics and subverting male hegemony, it expresses delicate feelings. The images of mothers in the works of Chinese female directors since the 21st century fully reflect the living conditions of contemporary Chinese mothers. Reveal their real spiritual life and emotional world. Female directors can present the image of mother in the new historical dimension, and the individual growth process of these directors, the spread of feminism in China, The open and pluralistic social environment and the increasingly prosperous and divided film market are closely related. With their artistic creation, the female directors in the 21st century have changed the single dimension of the image of mother in the screen space, and the image of the mother appears at the same time. It is becoming more and more diverse, but it also has the disadvantages of thin image, narrow character setting and submission to the male-dominated order. In the future, female directors will work hard to enrich the subject matter and promote the promotion of business, in order to create more popular female films and create deeper images of mothers.
【学位授予单位】：湖南工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911
【参考文献】
相关期刊论文 前5条
1 朱洁;;红颜的世界——新生代导演李玉电影论[J];南京师范大学文学院学报;2011年04期
2 宁瀛;潘若简;;拍商业片是一种挑战——宁瀛访谈[J];电影艺术;2010年03期
3 宋家玲;刘硕;;清丽、越轨的笔致——论新世纪以来中国电影女性导演的女性意识表达[J];扬子江评论;2008年04期
4 马俪文;吴冠平;;他叫刘跃进——马俪文访谈[J];电影艺术;2008年02期
5 黄蜀芹;女性，，在电影业的男人世界里[J];当代电影;1995年05期
相关硕士学位论文 前8条
1 张觅奇;许鞍华电影中的女性意识探究[D];云南艺术学院;2012年
2 王世佳;许鞍华电影研究[D];山东艺术学院;2012年
3 马灵君;许鞍华电影中的女性形象[D];陕西师范大学;2012年
4 李思灵;许鞍华电影导演艺术研究[D];重庆大学;2012年
5 王晶晶;东窗的风景[D];西南大学;2011年
6 陈娟;许鞍华后期电影研究[D];华中师范大学;2011年
7 佟文玲;飘零与复归[D];吉林大学;2007年
8 孙燕;女性形象的诞生[D];郑州大学;2003年
本文编号：2426310
本文链接：https://www.wllwen.com/wenyilunwen/huanjingshejilunwen/2426310.html
