本文選題：王穎電影 + 中國城　； 參考：《北京外國語大學》2017年碩士論文

【摘要】：華裔美國人的形象在好萊塢電影中并不少見但直到20世紀80年代,他們才真正有機會在銀幕上發(fā)出屬于自己的聲音。而在此之前,華裔形象一直處于白人的操控之下,誕生了一系列帶種族偏見的深入人心的人物,例如傅滿洲,查理陳等。美籍華裔導演王穎正是通過電影探索華裔形象和身份的先驅者。他的作品影響深遠,包括《尋人》(1982),《點心》(1985),《吃一碗茶》(1989),《生活便宜……但廁紙很貴》(1989),《喜福會》(1993),《中國盒子》(1997),《內布拉斯加公主》(2008),《雪花秘扇》(2011)。王穎出生于香港,受其父影響自小崇尚美國文化,本科于美國就學,畢業(yè)后返回香港,不久又前往美國并在中國城打工。正是他這種典型的教育和移民經(jīng)歷,豐富了他對華裔美國人身份建構的認識,也為他展現(xiàn)中國文化打下了基礎�；谌A裔在美國少數(shù)族裔中的重要地位以及王穎在華裔美國電影方面的建樹,對他的研究比較豐富,中美雙方學者都有涉及。然而縱觀已有文獻,在華人和中國人角度方面仍存在不少缺陷:第一,對于王穎電影的研究缺乏有效而深入的理論解讀;第二,研究對象單一,多集中于《尋人》一部電影,因一木而忽略了一片林;第三,中國學者一致批判王穎是東方主義的幫兇因為其電影中存在大量對中國城和中國的負面表征。由此,本文提出了以下問題,希望可以進一步豐富對王穎以及華裔電影的研究:第一,如何理解中國城和中國的不潔?第二,王穎如何在他的電影中質詢和挑戰(zhàn)中國城和中國的不潔地位和內涵?針對以上問題,本文選取了王穎華裔電影中深入探討中國城和中國的四部電影作為案例分析的文本,即《尋人》,《點心》,《喜福會》,《內布拉斯加公主》,采用結合社會政治背景的文本分析方法進行分析,以增加對王穎和華裔美國電影的理解。本文采用朱莉亞·克里斯蒂瓦的抑斥理論作為理論框架。抑斥理論著重于個體或群體如何形成其獨立的主體性,強調這一過程必須通過壓抑和排斥內部外部的不良影響才能實現(xiàn),且這一過程必然是動亂的,激烈的。經(jīng)分析,本文得出以下結論。中國城和中國之所以被歸為不潔是因為白人希望保住他們自身的主體性和優(yōu)越性。然而,包括王穎在內的華裔導演通過他們的電影顛覆了中國城和中國的不潔身份。以王穎電影為例,具體而言,一方面,為了挑戰(zhàn)中國城的不潔身份,王穎以富有個性化的方式描繪了居住在中國城中的華裔美國人,強調了他們的人性,個性和多樣性。如此,觀眾得以通過移情而反思強加在中國城上的不潔內涵。另一方面,為了質疑中國的不潔身份,王穎在電影中將他們以和東方主義幻想一致的不潔的形象展示,以此返回窺視的白人的凝視并破壞他們在抑斥過程中獲得的窺視的快感,引發(fā)對不潔的反思。如此,中國的不潔身份得以被審視和挑戰(zhàn)。
[Abstract]:The image of Chinese Americans is not uncommon in Hollywood movies, but it was not until 1980s that they had a real chance to make their own voice on the screen. Before that, the Chinese image had been manipulated by the white people, born of a series of racially biased people, such as Fu Manzhou, Charlie Chen and so on. Chinese American director Wang Yingzheng is a pioneer in the exploration of Chinese image and identity through movies. His works have far-reaching influence, including < search for man > (1982), "snack" > (1985), "eat a bowl of tea" (1989), "cheap life", but toilet paper is expensive > (1989), < Joy Luck > (1993), "Chinese box > (1997)", "Nebraska Princess > (2008)", "Snow Flower Secret Fan > (2011)"). Born in Hongkong, he was influenced by his father in the American culture. He was in the United States and studied in the United States. He returned to Hongkong after graduation. He soon returned to the United States and worked in the Chinese city. It was his typical educational and immigrant experience that enriched his understanding of the construction of Chinese American identity and laid the foundation for his Chinese culture. The important status of the ethnic minorities and the achievements of Wang Ying in Chinese American films are rich in his research, and the scholars of both China and the United States have been involved. However, there are still many shortcomings in the Chinese and Chinese perspectives. First, there is a lack of effective and in-depth theoretical interpretation for the study of Wang Yingdian's shadow; second, The research object is single, mostly concentrating on a film of "looking for people" and ignoring a piece of wood for a wood. Third, Chinese scholars consistently criticize Wang Ying as an accomplice of Orientalism because there are a large number of negative representations of China and China in the film. Thus, this paper puts forward the following questions, hoping to further enrich the Wang Ying and Chinese American electricity. The first, how to understand the unclean of Chinese city and China? Second, how does Wang Ying inquiries and challenge the unclean status and connotation of China's city and China in his films? In view of the above questions, this article selects the text of the four films in Chinese city and China as the case analysis in the Chinese film of Wang Ying, that is, "seeking", < point. In order to increase the understanding of Wang Ying and Chinese American films, this article uses Julia Christian repulsion theory as the theoretical framework. The repulsion theory focuses on how individuals or groups form their independent subjectivity. The process must be achieved by repressing and excluding the internal and external effects of the internal and external effects, and this process is bound to be turbulent and intense. After analysis, this article draws the following conclusions. The reason why the Chinese city and China are classified as unclean is because the white people want to preserve their own ownership and superiority. However, China, including Wang Ying, is in China. On the one hand, in order to challenge the unclean identity of the Chinese city, Wang Ying portrayed the Chinese Americans living in the city in a personalized way, emphasizing their human nature, personality and diversity. In this way, the audience got the Wang Ying film, for example, as an example. To reflect on the unclean connotation imposed on the Chinese city by empathy, on the other hand, in order to question China's unclean identity, Wang Ying displayed them in the film with the unclean image of the Orientalism fantasy, returning the gaze of the whites and destroying the snooping pleasure of their reprimand and causing the unclean. In view of this, China's unclean status has been scrutinized and challenged.

【學位授予單位】：北京外國語大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J911

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