本文關(guān)鍵詞：“陌生人”的橋梁夢(mèng)—李安電影解讀　出處：《河南師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： “陌生人” “橋梁” “東-西” “歷史” “性別”

【摘要】：“陌生人”是社會(huì)學(xué)家齊美爾提出的一個(gè)術(shù)語，之后被許多社會(huì)學(xué)家從不同的角度完善發(fā)揮，“中原文化”“情結(jié)”使得臺(tái)灣電影導(dǎo)演李安曾一再強(qiáng)調(diào)自己的“外人”身份（臺(tái)灣外省人、大陸臺(tái)胞、美籍華人），，這與社會(huì)學(xué)研究中的“陌生人”發(fā)生極大的理論共鳴。具體表現(xiàn)在“邊緣性”：亞文化人類的同一聚焦；“無家性”：“現(xiàn)代民族國(guó)家”中的相似遭遇；“跨界性”：重合的風(fēng)格品質(zhì)。 事實(shí)上，“陌生人”的身份對(duì)李安電影的創(chuàng)作起著核心的作用。它一方面使其電影的主題圍繞“壓抑”進(jìn)行，這是現(xiàn)代民族國(guó)家中“邊緣性”與“無家性”的“陌生人”的必然焦慮；另一方面“跨界”也讓擁有客觀自由視角的“陌生人”李安變被動(dòng)為主動(dòng)，試圖借由電影對(duì)造成自己“陌生人”身份的各方展開一種“陌生人”的“積極烏托邦”策略：那就是在東-西方，兩岸及臺(tái)灣本省人和外省人的關(guān)系和兩性形象中搭建一座座“橋梁”，這樣的“橋梁”極具包容性，在這個(gè)國(guó)與國(guó)頻繁交流的全球化時(shí)代，其社會(huì)學(xué)意義是巨大的，這是本論文研究的現(xiàn)實(shí)目的和價(jià)值所在。 本文研究架構(gòu)上將圍繞李安這個(gè)受“壓抑”的“陌生人”如何在東西方、歷史和性別之間筑起一道道形態(tài)各異而又殊途同歸的影視“橋梁”，從而來掌握與理解李安電影在東-西，歷史和性別之間的“橋梁”特質(zhì)。文中我們將分析不論是從對(duì)東西方兩種性質(zhì)“壓抑”的各自反思到試圖在電影《少年派》中融合東-西方；還是《色|戒》中通過王佳芝加入“歷史”層次的表演解構(gòu)集體歷史記憶后再結(jié)構(gòu)共同的抗日記憶的努力；亦或是大膽地僭越性別規(guī)范再塑造出陰陽互文的理想性別主體的招數(shù)，它們都是李安這個(gè)“陌生人”構(gòu)建積極烏托邦的“橋梁夢(mèng)”。而且他們沿著的皆為對(duì)構(gòu)成自己“壓抑”的兩端進(jìn)行叛逆和疏離，然后再試圖用客觀性和相對(duì)性整合“壓抑”兩端的先“破”后“立”的邏輯思路。 本論文涉及到的理論知識(shí)有電影作者論，社會(huì)學(xué)“陌生人”理論，心理學(xué)家榮格和拉康的相關(guān)知識(shí)，敘述學(xué)以及性別表演等，它們都成為本文綜觀“陌生人”李安電影的肌理特質(zhì)的一個(gè)個(gè)顯微鏡與繪制李安電影中的“橋梁夢(mèng)”的具體形象的一支支彩色筆。
[Abstract]:"Stranger" is a term put forward by the sociologist Zimmel, and then developed by many sociologists from different angles. "the Central Plains Culture" "complex" has led Taiwan film director Ang Lee to repeatedly emphasize his "outsider" identity (Taiwanese mainlanders, Taiwan compatriots, Chinese-Americans). This resonates with the theory of "stranger" in sociological research. "homelessness": the similar encounter in "modern nation-state"; Cross-border: overlapping style and quality. In fact, the identity of "Strangers" plays a central role in the creation of Ang Lee's films. On the one hand, it makes the theme of his films revolve around "repression". This is the inevitable anxiety of "strangers" who are "marginal" and "homeless" in modern nation-state; On the other hand, "crossing the border" also makes the "stranger", who has an objective and free perspective, become passive and active. Try to use the film to create their own "stranger" identity of the parties to develop a "stranger" of the "positive utopia" strategy: that is, in the East and West. "Bridges" have been built in the relations and images of mainlanders and mainlanders across the Taiwan Strait and Taiwan. Such "bridges" are extremely inclusive and are in an era of globalization in which countries frequently communicate with each other. Its sociological significance is enormous, which is the realistic purpose and value of this paper. This paper focuses on how Ang Lee, a repressed stranger, builds a "bridge" between East and West, history and gender. In order to grasp and understand Lee's films in the East-West. The "bridge" between history and gender. In this paper, we will analyze whether it is from the reflection of the "repression" of the East and the West to the attempt to integrate the East and the West in the film "the Juvenile School". Or "Lust caution" through Wang Jiazhi to join the "history" level of performance to deconstruct collective historical memory after the structure of the common anti-Japanese memory efforts; Or boldly overstep the gender norms and then shape the ideal gender subject of Yin and Yang intertextuality. They are the "bridge dreams" of Ang Lee, a stranger, to build an active utopia, and they are all following the rebellious and alienating ends that constitute their own "repression". Then try to use objectivity and relativity to integrate the logical thought of "breaking" before "standing" at both ends of "depression". The theoretical knowledge involved in this thesis includes film author theory, sociological "stranger" theory, the knowledge of psychologists Jung and Lacan, narratology and gender performance, and so on. All of them have become a color pen in this paper, which is the microscope of the texture characteristics of Ang Lee's film "Strangers" and the concrete image of "Bridge Dream" in Ang Lee's films.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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