【摘要】：女性電影的形成要追溯到19世紀(jì)歐洲女權(quán)主義的誕生,從女權(quán)主義興起到流入中國,大概經(jīng)歷了100年之久,它伴隨著女權(quán)主義運(yùn)動而發(fā)展,在結(jié)合了我國文化符號和意識層面等多重領(lǐng)域的性別意識化建構(gòu)之后,在20世紀(jì)70年代作為女性理論的分支而出現(xiàn)。這種從政治領(lǐng)域轉(zhuǎn)向文化藝術(shù)領(lǐng)域的變革最主要的目的在于將女性形象從男性世界的控制中解脫出來,而女性意識的藝術(shù)化展現(xiàn)則是基于電影的現(xiàn)實(shí)化構(gòu)建,綜合運(yùn)用影視手法,表明女性現(xiàn)實(shí)訴求及心理現(xiàn)實(shí)走向的影視化呈現(xiàn)。論文的緒論從婁燁電影作品目前在學(xué)術(shù)領(lǐng)域的研究類別、研究方向作為切入點(diǎn),綜合研究問題分析國內(nèi)研究現(xiàn)狀,總結(jié)出目前學(xué)術(shù)界對于婁燁及其電影的主攻研究方向涉及到對婁燁本人及其作品研究以及將婁燁放于第六代導(dǎo)演群體中作對比分析這兩方面。將女性主義電影理論作為切入點(diǎn),結(jié)合婁燁影片中女性人物形象建構(gòu)和敘事策略表現(xiàn),引出婁燁電影中女性意識探究這一論題,表明女性意識在性別機(jī)制下的主體性介入以及在當(dāng)代的意義延伸。第一部分從女性與電影兩大類別進(jìn)行關(guān)聯(lián)性建構(gòu),論述了女權(quán)主義到女性主義的演變,直至女性主義電影理論的出現(xiàn),歸結(jié)出女性所面臨的主體性缺失問題,即影像表達(dá)中女性自由意識與自身覺醒的必要性,并結(jié)合多方面文獻(xiàn)資料給出了本文中女性主義的定義。第二部分主要介紹婁燁的電影之路,內(nèi)容涉及到其家庭氛圍影響和早期工作經(jīng)歷所帶來的藝術(shù)化熏陶以及婁燁影視風(fēng)格的形成,采取詩意現(xiàn)實(shí)化鏡頭展現(xiàn)手法,規(guī)避主觀存在的干擾,力圖展現(xiàn)活生生的場景和故事,具有極強(qiáng)的代入感。這種婁式風(fēng)格的電影讓婁燁成為了名副其實(shí)的游走于“地上電影”與“地下電影”創(chuàng)作的個(gè)性化導(dǎo)演。第三部分是論文研究的核心部分,是對女性意識身份建構(gòu)的研究。首先提出女性身份的認(rèn)同,以佛洛依德的人格結(jié)構(gòu)理論和拉康的鏡像理論作為觀點(diǎn)依據(jù),從而進(jìn)一步探究影片中女性自我理想與理想自我的分裂和矛盾;其次將女性的主體性作為研究方向,結(jié)合影片詳細(xì)剖析了處于精神抗?fàn)幣c原欲釋放過程中尋求平衡點(diǎn)的女性角色;再次是婁燁電影中女性人物隱忍中的沉迷氣質(zhì)探究,即女性氣質(zhì)的全面解讀,由此外化出基于觀視驅(qū)動下婁燁影片中所呈現(xiàn)出的孤獨(dú)、隱忍又令人沉迷的女性角色形象。另外,在研究女性意識身份建構(gòu)的同時(shí),筆者認(rèn)為作為形象承擔(dān)者的女性和作為觀看者的男性間又包含著兩方面的矛盾:男性所產(chǎn)生的閹割恐懼與性別機(jī)制下女性仍處于被看的尷尬境地,這無異于對性別本身的無謂消解,所以筆者認(rèn)為女性氣質(zhì)的研究仍需進(jìn)一步關(guān)注和探討。第四部分仍是本論文關(guān)注的重點(diǎn)部分,主要以電影中女性意識建構(gòu)的敘事策略作為論述點(diǎn),涵蓋了女性敘述視角、敘事聲音以及人物設(shè)置三方面內(nèi)容,涉及到情感審視、異化的母親形象以及“同妻”現(xiàn)象和“男同”的女性意識等方面的解讀,從而共同構(gòu)成了導(dǎo)演的藝術(shù)認(rèn)知和女性表達(dá)策略。論文的第五部分以女性意識的再思考作為如上論文內(nèi)容的承接,以承擔(dān)者、受害者、癡情者和復(fù)仇者的形象代表了當(dāng)今社會的類型化女性群體人物,成為女性意識社會化再思考的又一研究層面。本文力圖通過研究、分析婁燁電影中的女性人物形象,展現(xiàn)劇中人物在社會翻覆變遷中的內(nèi)心蛻變,人格意識的覺醒,生存狀態(tài)的強(qiáng)烈渴望等方面的生命體驗(yàn),繼而在多元文化世界中構(gòu)建真正的女性獨(dú)立、自醒意識,呼吁更多導(dǎo)演真正關(guān)注女性內(nèi)心生命渴望和生存價(jià)值,以客觀、冷靜、真實(shí)的視角深入到廣大女性群體的心理現(xiàn)實(shí)走向和生命體驗(yàn)訴求。
[Abstract]:The formation of female movies should be traced back to the birth of feminism in Europe in nineteenth Century. It has been about 100 years since the rise of feminism to China. It developed with feminist movement. After the construction of gender awareness in multiple fields, such as cultural symbols and consciousness, it was used as a female theory in 1970s. The main purpose of the change from the political field to the cultural and artistic field is to free the female image from the control of the male world, while the artistic expression of the feminine consciousness is based on the realistic construction of the film, and the application of the film and television techniques to show the reality of women and the trend of psychological reality. The introduction of the thesis is from the research category of Lou Ye's film works in the academic field and the research direction as an entry point, the comprehensive research on the current situation of domestic research, and the conclusion that the main research direction of Lou Ye and his films in the current academic circles involves the study of Lou Ye himself and his works and the release of Lou Ye in sixth. The two aspects of contrast analysis are made in the generation of the generation of directors. Taking the feminist film theory as a breakthrough point, combining the construction of female characters and the narrative strategy in Lou Ye's films, the thesis leads to the topic of female consciousness exploration in Lou Ye films, which shows the subjective intervention of female consciousness in the gender mechanism and the extension of contemporary significance. From the two major categories of female and film related construction, this paper discusses the evolution of feminism to feminism, and the emergence of feminist film theory, and sums up the problem of the lack of subjectivity that women face, that is, the necessity of women's free consciousness and self awakening in the image expression. The second part mainly introduces the way of Lou Ye's film, which involves the artistic edification of his family atmosphere and the early work experience, as well as the formation of Lou Ye's film and television style. It takes a poetic and realistic lens display to avoid the subjective interference and tries to show the living scenes and stories. The third part is the core part of the study of the thesis and the research on the identity construction of female consciousness. First, the identity of female identity is put forward, and the third is the person of Freud. The theory of lattice structure and Lacan's mirror theory are used as the basis to further explore the split and contradiction between the female self ideal and the ideal self in the film. Secondly, the female role as the research direction is taken as the research direction, and the female role in seeking balance between the spiritual resistance and the original desire release is analyzed in detail. The study of the obsessive temperament of the female characters in the film, that is, the overall interpretation of the femininity, reveals the loneliness, the forbearance and the indulgence of the female characters in Lou Ye's films based on the view driven. In addition, in the study of the identity construction of women's consciousness, the author thinks that the female as a bearer of the image and the image of the female. The male, as a viewer, contains two contradictions: the male's castration fear and the gender mechanism are still in the embarrassed situation of being seen, which is no more than the meaningless elimination of the sex itself, so the author thinks that the study of femininity still needs further attention and discussion. The fourth part is still the focus of this paper. Part, mainly taking the narrative strategy constructed by female consciousness in the film as the discussion point, covering the female narrative perspective, narrative voice and character setting three aspects, involving emotional examination, the alienated mother image and the interpretation of "the same wife" phenomenon and the "male" female consciousness, thus forming the director's art together. The fifth part of the thesis takes the rethinking of feminine consciousness as the undertaking of the content of the thesis. The image of the bearer, the victim, the infatuated and the vengeance represents the type of the feminine group in the present society, and has become another research aspect of the socialization of the feminine consciousness. The analysis of the image of the female characters in Lou Ye's films shows the life experience of the characters in the changes of the social overturn, the awakening of personality consciousness, the strong desire for the state of existence, and the construction of the true female independence in the multicultural world, and the consciousness of self awakening, and calls for more directors to really pay attention to the inner life of women. The value of aspiration and survival has penetrated into the psychological reality and the life experience of the vast majority of women in an objective, calm and real perspective.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J911

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