本文關(guān)鍵詞： 戰(zhàn)爭(zhēng)電影 女性主義 女性形象 嬗變軌跡　出處：《山西大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：中國(guó)戰(zhàn)爭(zhēng)電影自誕生以來(lái),在中國(guó)類(lèi)型電影中占據(jù)著重要的位置。隨著時(shí)代的變遷,中國(guó)戰(zhàn)爭(zhēng)電影也呈現(xiàn)出不同的特點(diǎn),每一時(shí)期的戰(zhàn)爭(zhēng)電影都帶有明顯的時(shí)代烙印,無(wú)論是影片產(chǎn)生的文化語(yǔ)境、影片的美學(xué)特征,抑或是影片的人物形象塑造,都能夠展現(xiàn)出戰(zhàn)爭(zhēng)電影的變化與發(fā)展。一提到戰(zhàn)爭(zhēng)電影,我們首先映入腦海的是激烈的戰(zhàn)斗場(chǎng)面和奮勇殺敵的男性軍人們。傳統(tǒng)觀念也認(rèn)為,打仗是男人們的事情,戰(zhàn)爭(zhēng)是男人們的天地。所以,戰(zhàn)爭(zhēng)電影通常也是以男性為主角展開(kāi)的,主要表現(xiàn)的是男性的雄偉氣概。但是,女性在戰(zhàn)爭(zhēng)電影中同樣有著無(wú)法替代的重要地位。女性的陰柔氣質(zhì)融入到了剛烈的戰(zhàn)爭(zhēng)電影中,反而給影片增添了一種獨(dú)特的色彩。戰(zhàn)爭(zhēng)電影中的人物形象塑造一直都是以塑造英雄為主,大多影片都是以男性的雄偉氣概為主要表現(xiàn)對(duì)象,而女性角色一直都隱藏在男性角色之后,女性在戰(zhàn)爭(zhēng)中的地位以及女性真實(shí)的內(nèi)心世界并沒(méi)有在戰(zhàn)爭(zhēng)電影主題中得到一定的詮釋。戰(zhàn)爭(zhēng)電影中的女性形象也是比較單薄的,這些女性形象的塑造是國(guó)家意識(shí)形態(tài)和父權(quán)意識(shí)形態(tài)的表達(dá)需要,而非真正的女性性別意識(shí)的體現(xiàn)。戰(zhàn)爭(zhēng)電影作為中國(guó)電影的主要類(lèi)型,其發(fā)展關(guān)系到了中國(guó)電影的整體水平。戰(zhàn)爭(zhēng)電影的發(fā)展不僅需要不斷提高電影技術(shù),給觀眾呈現(xiàn)出更好地視覺(jué)效果,電影內(nèi)在形式也需要不斷完善,尤其是對(duì)女性角色的塑造,如何在戰(zhàn)爭(zhēng)電影中刻畫(huà)出更有內(nèi)涵的女性形象,使女性意識(shí)在電影中真正的體現(xiàn)出來(lái),這些都是值得探究的問(wèn)題。中國(guó)戰(zhàn)爭(zhēng)電影中女性形象的研究,對(duì)戰(zhàn)爭(zhēng)電影整體的發(fā)展是極具推動(dòng)作用的。
[Abstract]:Since the birth of Chinese war films, they have occupied an important position in Chinese movies. With the change of times, Chinese war films have different characteristics. Every period of war film has a clear brand of the times, whether it is the cultural context of the film, the film's aesthetic characteristics, or the film's character image. When it comes to war movies, the first thing we think about is the fierce battle scene and the men who are fighting to kill the enemy. War is a man's business, war is a man's world. Therefore, war movies are usually also the main male characters, the main performance of male grandeur. But. Women also have an irreplaceable important position in war movies. On the contrary, it adds a unique color to the film. The portrayal of characters in the war film has always been to portray the hero, most of the films are the main performance object of male grandeur. And female characters have always been hidden behind male roles. The position of women in the war and the real inner world of women have not been interpreted in the theme of war movies. The images of women in war films are also relatively thin. The shaping of these female images is the need of the expression of national ideology and patriarchal ideology, rather than the embodiment of real female gender consciousness. War films are the main types of Chinese films. Its development relates to the whole level of Chinese film. The development of war film not only needs to continuously improve the film technology, but also need to improve the internal form of the film. In particular, the shaping of female characters, how to portray a more connotative female image in the war film, so that the female consciousness in the film is truly reflected. These questions are worth exploring. The study of female images in Chinese war films is very helpful to the overall development of war films.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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