發(fā)布時間：2018-04-06 05:20

  本文選題：韓國　切入點：鬼片　出處：《云南大學》2015年碩士論文

【摘要】：本文通過對韓國鬼片的分析,梳理出韓國鬼片發(fā)展的脈絡及特點,著重探究女性成為鬼片主體的原因。通過對52部韓國鬼片的文本分析,發(fā)現(xiàn)韓國鬼片最鮮明特色是以女性作為主體,女鬼游蕩世間的主要目的是復仇,取材多源于社會現(xiàn)實。以核心家庭為主的韓國社會,在家庭、職場中,女性難以處于權力中心,她們被邊緣化、物化,成為被欺凌者。然而,鬼片中將女性(女鬼)作為敘事主體,打破原有的男性英雄主義傳統(tǒng),通過超能力,使原本弱小的女性成為權力中心,由她來操縱游戲規(guī)則,大眾要臣服于這個規(guī)則之下,一旦越矩就會受到懲罰。 韓國鬼片以女性作為敘事主體,用虛構的影像彰顯女性話語權,女性被建構為權力把持者。影視作品往往和現(xiàn)實相互呼應,鬼片中這樣的安排照應韓國現(xiàn)實社會。身處儒家文化圈的韓國社會,遵從嚴格的禮教規(guī)則,男女分工明確,各司其職。這樣的性別文化傳統(tǒng)不時滲透在日常生活的每個角落,家庭教育和學校教育強化這樣的身份認同,同時,女性時刻處于大眾的隱性監(jiān)視之下,“懲罰”對她們具有威懾力。在一個兩性地位不平等的國家,韓國傳統(tǒng)的民族性“恨”易在女性身上發(fā)酵。 作為大眾文化重要構成部分的鬼片,遵從大眾文化生產的邏輯,以獲取利潤為目的,通過制作熒幕奇觀,獲取觀眾的視覺凝視,使觀眾獲得視覺快感。消費社會之下,通過消費女性的身體,商家和消費者一起完成了一次視覺狂歡�，F(xiàn)實生活中男性把持權力,主流意識形態(tài)維護男性霸權,男性通過“霸權”氣質向“共謀”性氣質的轉變,收編這個體制的“反叛者”,并在鬼片中植入了這樣的觀點。 同時,作為對外傳播的重要構成部分,鬼片同韓劇一起走向世界。作為塑造國家形象“組合拳”的一部分,韓國鬼片體現(xiàn)韓國特色,與世界各國一爭高下。韓國鬼片融入民族文化,形成自己的特色,塑造韓式恐怖美學。這樣的設計很成功,韓恐短期內崛起,橫掃國際市場,形成一股強勁的韓流,再次風靡世界。
[Abstract]:Based on the analysis of Korean ghost film, this paper analyzes the development of Korean ghost film and explores the reasons why women become the subject of ghost film.Through the text analysis of 52 Korean ghost films, it is found that the most distinctive feature of Korean ghost films is that women are the main body, the main purpose of female ghost loitering in the world is revenge, and most of the materials are derived from social reality.In a Korean society dominated by nuclear families, it is difficult for women to be in the center of power at home and in the workplace. They are marginalized, materialized and bullied.However, the ghost film takes the female (female ghost) as the narration subject, breaks the original male heroism tradition, through the super ability, causes the originally weak female to become the power center, lets her control the game rule.The public are subject to this rule and will be punished if they cross the line.Korean ghost film takes the female as the narration subject, uses the fictional image to show the female discourse right, the female is constructed as the power holder.Film and television works and reality often echo each other, ghost film in such arrangements to look after the real society in Korea.In the Confucian cultural circle of Korean society, comply with strict rules of etiquette, men and women a clear division of labor, their respective duties.Such cultural traditions of gender permeate every corner of daily life from time to time, family education and school education strengthen such identity, at the same time, women are always under the hidden surveillance of the public, "punishment" is a deterrent to them.In a country with unequal gender status, South Korea's traditional ethnic hatred is simmering on women.As an important part of popular culture, ghost film obeys the logic of mass culture production and aims at making profits. By making screen spectacles, it obtains the visual gaze of the audience and makes the audience get visual pleasure.Under the consumer society, through consuming the female body, the merchant and the consumer completed a visual carnival together.In real life, men hold power, mainstream ideology upholds male hegemony, men transform from "hegemonic" temperament to "conspiracy" sexual temperament, collect the "rebels" of this system, and implant such a view in ghost films.At the same time, as an important part of external communication, ghost films and Korean dramas go to the world.As a part of shaping the national image, Korean ghost film embodies Korean characteristics and competes with other countries in the world.Korean ghost film into national culture, forming its own characteristics, shaping the Korean aesthetics of terror.Such design is very successful, South Korean terror short-term rise, sweep the international market, form a strong Korean current, again popular around the world.
【學位授予單位】：云南大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J905

【參考文獻】

相關期刊論文 前10條

1 金勝勇;張尚民;;韓國電影振興中的文化危機 訪電影振興委員會委員、韓國自由電影小組主席張尚民博士[J];北京電影學院學報;2006年02期

2 肖麗艷;;韓國女性的角色和地位在韓劇中的折射研究[J];重慶科技學院學報(社會科學版);2008年07期

3 張妍;現(xiàn)代韓國女性的社會地位[J];東北亞論壇;2001年04期

4 李玉廣;怨恨與血淚交織的夢魘——1997-2004年韓國恐怖片研究[J];當代電影;2005年05期

5 許正林;殷維;;哥特式小說:恐怖電影的文學淵源[J];當代電影;2007年01期

6 李泫淑;《悲歌一曲》與韓國人傳統(tǒng)的審美意識[J];當代電影;1996年04期

7 金恩男,樸晟o，

本文編號：1718142