本文選題：性別　切入點：國族　出處：《廣西民族大學》2014年碩士論文　論文類型：學位論文

【摘要】：抗日戰(zhàn)爭是現(xiàn)代中國被迫進行的規(guī)模最大，同時也是唯一的、完全勝利的反帝愛國民族解放運動，這場艱苦卓絕的戰(zhàn)爭建構(gòu)了關(guān)于“中華民族”這一國族概念最廣泛的身份認同，并深深影響著中國電影。而新世紀則是一個特殊的歷史節(jié)點，當歷史邁步進新世紀，中國的文化格局變得更加繁復駁雜，種種意識形態(tài)訴求混雜融合地共生于“共用空間”之內(nèi)，形成奇異神秘的文化景觀。新世紀以來在電影院線公開上映的抗戰(zhàn)題材電影共有40部，其中多部電影都具有一定知名度，并在社會引起廣泛反響，但由于當代電影，特別是進入新世紀以來電影質(zhì)量良莠不齊，所以并未得到學術(shù)界的全面關(guān)注。以性別作為切入點考察新世紀抗戰(zhàn)題材電影，是一種新的嘗試。總覽新世紀以來的抗戰(zhàn)題材電影，，“雄化”的女性形象已不占主流，無論是身處私人領(lǐng)域還是公共領(lǐng)域的女性形象，都不約而同地回復了她們的自然性別，展現(xiàn)女性魅力。這一女性本體的浮現(xiàn)固然是對一元化性別秩序的超越，然而這種新的性別關(guān)系卻又有可能成為造就新的性別不平等的因素，忠實于自然身份的女性同樣是由新生的權(quán)力結(jié)構(gòu)所制造的文化鏡像。更深層的性別秘密在于，新世紀抗戰(zhàn)題材電影數(shù)量上的繁榮并不能掩飾其自身的文化困境，在“觀看”與“被看”的互動過程中，許多抗戰(zhàn)題材電影呈現(xiàn)敘述主體的空洞，我們太過于在乎外在的目光從而導致自我指認的困難。從這個層面來說，新世紀抗戰(zhàn)題材電影在參與當下文化格局、重建性別/國族敘述秩序過程中面臨的障礙正是由消費話語造就的新型權(quán)利結(jié)構(gòu)。而重建的可行性路徑則是采取“橫向政治”策略，即站在“中產(chǎn)階級”立場之上，用僭越的姿態(tài)面對以父權(quán)制為代表的種種霸權(quán)，尋求有差異的表達。
[Abstract]:The War of Resistance against Japan was the largest and the only anti-imperialist patriotic national liberation movement forced to take place in modern China. This painstaking war has constructed the most extensive identity of the "Chinese nation", a national concept, and has deeply influenced Chinese films. The new century is a special historical node, and as history moves into the new century, China's cultural structure has become more complex and complex, and various ideological demands have intermingled with each other in a "shared space". Forming a strange and mysterious cultural landscape. Since the beginning of the new century, there have been 40 films about the War of Resistance that have been publicly released in the cinema, many of which are well-known and have caused widespread repercussions in society, but because of contemporary films, Especially since entering the new century, the quality of the films has been mixed, so it has not been the overall concern of the academic community. Take gender as the starting point to investigate the films of the Anti-Japanese War in the new century. An overview of the anti-Japanese movies since the new century, the images of "male" women are no longer the mainstream, both in the private sphere and in the public sector, all of them have returned to their natural gender. The emergence of this female identity is a surpassing of the unified gender order, but this new gender relationship is likely to be a factor in creating a new gender inequality. Women who are faithful to their natural identity are also a cultural mirror created by the new power structure. The deeper gender secret lies in the fact that the prosperity of the number of films on the subject of the War of Resistance against Japan in the new century cannot conceal their own cultural predicament. In the process of "watching" and "being watched", many of the films of the War of Resistance show the void of the narrative subject, and we pay too much attention to the external vision, which leads to the difficulty of self-identification. In the new century, Anti-Japanese War films participate in the present cultural pattern, and the obstacles they face in the process of reconstructing the gender / national narrative order are precisely the new right structure created by the consumption discourse, and the feasible way of reconstruction is to adopt the strategy of "horizontal politics". That is, standing on the position of "middle class", seeking different expressions in the face of all kinds of hegemony represented by patriarchy.
【學位授予單位】：廣西民族大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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