本文選題：女性電影 + 性別議題��； 參考：《廈門大學(xué)》2014年碩士論文

【摘要】：本文以新世紀(jì)以來(lái)海峽兩岸女性電影為研究對(duì)象,選取了較具代表性的相同議題的女性電影進(jìn)行對(duì)照研究,試圖從性別視角切入,對(duì)同類電影中人物形象、故事類型、敘事邏輯、主題類型、文化訴求等多個(gè)層面進(jìn)行分析,解讀出在不同的社會(huì)文化語(yǔ)境下兩岸女性電影呈現(xiàn)的不同特點(diǎn)。 本文分緒論、正文、結(jié)語(yǔ)三個(gè)部分。 緒論部分簡(jiǎn)要介紹論文的研究現(xiàn)狀、研究方法及本文突破點(diǎn),并對(duì)本文的研究對(duì)象和文中涉及的女性電影的概念做出明確界定。 正文部分分為三章： 第一章,從社會(huì)文化語(yǔ)境的角度,梳理了兩岸女性主義發(fā)展軌跡和兩岸女性電影歷史遞變,將兩岸女性文學(xué)領(lǐng)域和女性電影領(lǐng)域的發(fā)展歷史進(jìn)行橫向和縱向的對(duì)照,展現(xiàn)兩岸女性主義文學(xué)與電影多元化的創(chuàng)作成果,表達(dá)了女作家和女導(dǎo)演對(duì)于性別自身的反省和關(guān)照,為后面章節(jié)進(jìn)行女性電影對(duì)照研究提供理論前提。 第二章,從不同世代女性的性別生存境遇、女性心靈世界的探析、女同性戀三個(gè)維度介入研究,透過(guò)對(duì)兩岸女性電影的文本細(xì)讀,反映出女性真實(shí)的情感境遇、生命體驗(yàn)及人性欲求,傳達(dá)出蘊(yùn)含在兩岸電影中的女性獨(dú)特意識(shí),有力地折射出當(dāng)代中國(guó)女性面對(duì)的真實(shí)困境,同時(shí)也凸顯出兩岸女性電影藝術(shù)創(chuàng)作風(fēng)格的相似性與特異性。 第三章,圍繞性別議題與其他議題的糾纏,把性別縫合進(jìn)階層、空間和文化中,對(duì)新世紀(jì)兩岸女性電影進(jìn)行對(duì)照研究,探究?jī)砂杜噪娪暗亩嘣幕V求,這也標(biāo)志著女性電影從關(guān)注個(gè)人、族群、階級(jí)到關(guān)注宏大歷史的變化。 結(jié)語(yǔ)部分對(duì)全文觀點(diǎn)進(jìn)行了總結(jié)。
[Abstract]:This paper takes the women's films on both sides of the Taiwan Strait since the new century as the research object, and selects the more representative female films on the same topic for a comparative study, and tries to analyze the characters and story types of the similar films from the perspective of gender. Through the analysis of narrative logic, theme type and cultural appeal, the author interprets the different features of cross-Strait female films in different social and cultural contexts. This paper is divided into three parts: introduction, text and conclusion. The introduction part briefly introduces the research status, research methods and breakthrough points of this paper, and makes a clear definition of the research object and the concept of female film involved in this paper. The text is divided into three chapters: The first chapter, from the perspective of social and cultural context, combs the development track of feminism on both sides of the strait and the historical evolution of women's films on both sides of the strait, and compares the development history of women's literature between the two sides of the strait and that of women's films horizontally and vertically. It shows the diversified creative achievements of feminist literature and film across the Taiwan Strait, expresses the reflection and concern of female writers and directors on the gender itself, and provides the theoretical premise for the comparative study of female films in the following chapters. The second chapter, from the different generations of women's gender survival situation, the analysis of the female soul world, the three dimensions of lesbians involved in the study, through the cross-Strait women's film text, reflect the true emotional situation of women. Life experience and human desire convey the unique consciousness of women contained in cross-strait films, which reflects the real predicament faced by contemporary Chinese women, and also highlights the similarity and specificity of the artistic creation style of cross-strait women's films. The third chapter, focusing on the entanglement of gender issues with other issues, sews gender into class, space and culture, and carries out a comparative study of the cross-Strait women's films in the new century to explore the multicultural demands of cross-strait women's films. This also marks the change of women's films from focusing on individuals, ethnic groups and classes to focusing on grand history. The conclusion part summarizes the views of the full text.
【學(xué)位授予單位】：廈門大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J909.2

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