本文關鍵詞： 李安電影 性別秩序 父權(quán) 同性戀　出處：《華中師范大學》2014年碩士論文　論文類型：學位論文

【摘要】：上世紀八九十年代以來,越來越多的華人導演,將中國電影帶入國際影壇,他們用鏡頭與影像把燦爛悠久的中國文化推向世界。李安導演便是其中之一。李安以中西融合的視角和深厚的藝術(shù)創(chuàng)造力展示了他對于中西文化的各種感悟,其中性別問題一直是李安電影關注的重要維度之一。本文就將以父權(quán)、女性、同性戀為切入點,管窺李安導演對于性別問題的思考。 第一章與第二章主要圍繞男女兩性秩序的主題,探討兩性秩序的解構(gòu)和重構(gòu)。傳統(tǒng)的性別秩序是男性為主導,女性附之,父權(quán)制度是整個男性秩序的核心和根基。因此第一章第一節(jié)以解構(gòu)父權(quán)為切入點,分析李安電影對男性邏各斯中心下的性別秩序的消解。其消解主要分為三個層次：質(zhì)疑父權(quán)、否定父權(quán)、顛覆父權(quán)。第二節(jié)將視角投向在男性秩序中被主導的女性,解讀李安導演如何提升女性地位。有三個角度：將女性作為敘事中心的深層內(nèi)涵；解放“被看”的女性身體；摒棄“他者”的女性意識。消解的意義在于改變,所以第二章著重分析了在解構(gòu)舊有秩序后李安如何重構(gòu)新的性別秩序。第一部分探討李安對于傳統(tǒng)秩序中男女兩性的性別氣質(zhì)和性別角色進行的調(diào)整,其采用的方式是互置。第二節(jié)則探討了李安在電影中構(gòu)建新的兩性秩序的具體內(nèi)涵：兩性平等、女性對男性的“反救贖”以及男女兩性相依共生。第三章以同性戀為主要分析目標,解讀性別秩序中的特殊話語。首先李安將同性戀與異性戀作同質(zhì)性的隱喻,設置陰陽互補的性別關系,用異性戀的敘事模式,將同性戀去特殊化。其次通過對同性戀符號的多重所指,分析同性戀作為一種人類情感訴求方式所具有的普世價值。 李安電影的性別秩序內(nèi)涵是豐富的,除了傳統(tǒng)性別秩序中的男女兩性,也關照了同性戀這一特殊秩序。李安試圖打破傳統(tǒng)的對立關系,包括男女兩性的二元對立,同性戀與異性戀的對立。以期構(gòu)建一種新的性別秩序,在這種秩序中性別關系是相依共生的,是和諧平等的。李安以此來表達對于美好人性的向往與追求。
[Abstract]:Since 0th century, more and more Chinese directors have brought Chinese films into the international film world. They use the lens and the image to push the splendid Chinese culture to the world. Director Ang Lee is one of them. Ang Lee shows his various understanding of the Chinese and Western culture with the angle of view of Chinese and Western integration and deep artistic creativity. The gender issue has always been one of the important dimensions of Ang Lee's film concern. This paper will take paternity, women and homosexuality as the starting point to see Lee's thinking on gender issues. The first and second chapters mainly focus on the theme of gender order, discuss the deconstruction and reconstruction of gender order. The traditional gender order is male-dominated, female attached. Patriarchal system is the core and foundation of the whole male order. This paper analyzes the deconstruction of the gender order under the center of male logos in Ang Lee's films, which is divided into three levels: questioning paternity and denying paternity. Subversion of patriarchal power. The second section puts the angle of view to the female who is dominant in the male order and explains how Ang Lee promotes the female status. There are three angles: the deep connotation of taking the female as the narration center; Emancipate the female body of "being seen"; Abandon the female consciousness of "other". The significance of resolution lies in change. So the second chapter focuses on the analysis of how Ang Lee reconstructs the new gender order after deconstructing the old order. The first part discusses Lee's adjustment of the gender temperament and gender roles of both sexes in the traditional order. The second section discusses the specific connotation of Ang Lee's construction of a new gender order in the film: gender equality. The third chapter takes homosexuality as the main analysis goal, and interprets the special words in the gender order. First, Ang Lee makes homosexuality and heterosexual as the metaphor of homogeneity. Set up the gender relationship that Yin and Yang complement each other, use heterosexual narrative mode, the homosexuality is desegregated. Secondly, through the multiple references to homosexual symbols. This paper analyzes the universal value of homosexuality as a way of human emotional appeal. The connotation of sexual order in Ang Lee's films is rich, in addition to the men and women in the traditional gender order, but also take care of the special order of homosexuality. Including the binary opposition between men and women, homosexuality and heterosexual opposition, in order to build a new gender order, in which the sex relationship is dependent and symbiotic. It is harmony and equality. Ang Lee expresses his yearning for and pursuit of good human nature.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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本文編號：1491183