本文選題：新生代女導演　切入點：女性形象　出處：《上海師范大學》2013年碩士論文

【摘要】：女性導演創(chuàng)作群體在中國電影界保持著獨特的藝術創(chuàng)作風格，在中國電影百年發(fā)展中，涌現出了眾多的女性形象，這些風姿各異的女性為電影增添了亮麗的風采，同時也讓人久久的回味，獲得美的享受以及對人生的思考。隨著社會的發(fā)展變化，時至今日，新生代女性導演影片中的女性形象更是值得進行系統(tǒng)的研究。女性形象作為一個特殊的載體，被創(chuàng)作者們賦予了更多的社會、歷史、經濟和文化等方面的不同含義。 在眾多影視作品中呈現出來的女性，不同程度地被美化、理想化或者是丑化、妖魔化，和現實生活中的女性有很大的距離，因此女性形象往往出現天使與妖女、圣母與娼妓這樣兩種極端的形態(tài)。之所以女性形象會出現兩極的形態(tài)，，可以說是男性欲望投射的結果，都不是歷史或者現實生活中存在著的真實女性。尤其是在新生代導演之前的影視作品中的女性形象，通常表達了整個社會對女性的性別角色的期待，這些女性形象更多地代表了人們對理想中女性形象的再造。新生代女導演本身作為女性，對女性形象會有怎樣的不同闡釋和理解，本文希望作出進一步的探究和解析。 近些年來，女性導演的創(chuàng)作實力和作品都比較突出，女性導演的隊伍不斷地壯大，作品也越來越受到大家的關注和認可。女性導演作品中的女性形象折射出中國當代女性自身的生存狀況，以及她們在生存環(huán)境、生存壓力下所呈現出的精神世界、情感世界。隨著中國女性導演群落的不斷發(fā)展與壯大，影視作品中的女性形象也越來越值得深入研究。 隨著這些女性導演執(zhí)導的影片的影響力，她們也逐漸獲得了觀眾的關注以及市場的認可，以李玉、馬儷文、徐靜蕾、尹麗川為代表的一批70后女性導演崛起，成為中國電影的新生力量，這些女性導演在經歷個人化創(chuàng)作的歷練后，由對個性的堅持到先后轉戰(zhàn)商業(yè)電影，試圖在商業(yè)電影中占據一席之地。研究這批70后女性導演的發(fā)展對促進我國女性電影導演群體的壯大和成長、對開拓電影理論研究，將是十分有益的。 本文是一篇以中國內地新生代女導演電影中的女性形象為研究著眼點的論文。本文選取近年來有影響力的新生代女導演的作品為研究文本，以《今年夏天》、《紅顏》、《蘋果》、《世界上最疼我的那個人去了》、《我們倆》、《牛郎織女》、《我和爸爸》等電影為樣本，論述解讀中國內地新生代女導演電影中的女性形象，探討中國內地新生代女導演電影中女性形象的多元社會語境和文化語境，并且從宏觀上對新生代女導演的影片進行總結和歸納。
[Abstract]:The group of female directors has maintained a unique artistic creation style in the Chinese film industry. In the century-old development of Chinese films, numerous female images have emerged, and these women with different styles have added a bright demeanour to the film. At the same time, it also makes people have a long aftertaste, enjoy beauty and think about life. With the development of society, to this day, As a special carrier, the female image has been given more social, historical, economic and cultural meanings by creators. The women who appear in many film and television works are beautified, idealized or demonized to some extent, which are far away from the women in real life, so the female images often appear angels and goblins. Two extreme forms, the Virgin Mary and the prostitute. The reason for the bipolar appearance of the female image can be said to be the result of the projection of male desire. They are not real women in history or in real life. Especially the images of women in film and television works before the new generation of directors usually express the expectation of the whole society for the gender roles of women. The new generation of female directors themselves, as women, will have different interpretation and understanding of the female image, this paper hopes to make further exploration and analysis. In recent years, the creative strength and work of female directors have been quite prominent, and the ranks of female directors have been constantly growing. The female images in the works of female directors reflect the living conditions of the contemporary Chinese women and the spiritual world they present under the pressure of living environment and survival. With the continuous development and expansion of Chinese female directors community, the female images in film and television works are more and more worthy of further study. With the influence of the films directed by these female directors, they have also gradually gained audience attention and market recognition. A group of post-70s female directors, represented by Li Yu, Ma Liwen, Xu Jinglei and Yin Lichuan, have risen. They have become a new force in Chinese films. After experiencing the experience of personal creation, these female directors have gone from persisting in personality to switching to commercial films. The research on the development of female directors after the 1970s is beneficial to the development of the group of female film directors in China and to the development of the theory of film. This paper focuses on the female images of the new generation of female directors in the mainland of China. This paper selects the influential works of the new generation of female directors in recent years as the research text. Taking films such as "Summer of this year", "Beauty", "Apple", "gone of the person who most loved me in the world", "the two of us", "Niulang Weaver Girl", "my Dad" and other films as samples, this paper discusses and interprets the female images of the new generation of female directors in the mainland of China. This paper probes into the pluralistic social and cultural context of the female images in the new generation of female directors' films in the mainland of China, and sums up and sums up the films of the new generation of female directors from the macro perspective.
【學位授予單位】：上海師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905

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本文編號：1653600