當(dāng)下華語同性戀電影的精神分析研究（1990至今）
發(fā)布時(shí)間：2018-07-28 09:18
【摘要】：“同性戀”作為一種客觀存在的社會現(xiàn)象、生活方式及審美趣味，在社會歷史發(fā)展的進(jìn)程中幾經(jīng)演變，卻長期處于主流意識形態(tài)話語之外敏感的邊緣地帶。而隨著社會文化語境的多元交融，“同性戀”以一種獨(dú)特的亞文化形態(tài)呈現(xiàn)在研究者、創(chuàng)作者們視野中，并越發(fā)受到關(guān)注�！巴詰匐娪啊背蔀橐环N形象化的影像言說方式，而“華語同性戀電影”在不斷的抗?fàn)幣c突破中探索與嘗試，逐漸取得不菲成績并獲得受眾認(rèn)可，對于“華語同性戀電影”的探討也愈發(fā)激烈并眾說紛紜。 精神分析學(xué)說作為電影研究發(fā)展進(jìn)程中輔助理論之一，在現(xiàn)代社會強(qiáng)調(diào)學(xué)科互涉的理論背景下，，對于電影研究形成知識互通的開放結(jié)構(gòu)具有重要作用。本文即通過精神分析的視角，對華語“同性戀電影”的“同性戀”文本話語言說與影像文本視聽構(gòu)建方面進(jìn)行雙重剖析，一方面利用弗洛伊德的精神分析方法，從影片中“同性戀”者自我身份的認(rèn)同、孤獨(dú)生存狀態(tài)下的歸宿尋找、以及“異性”之于“同性戀”者的意義三重角度逐級剖析影像中的“同性戀”文本話語；另一方面又運(yùn)用克里斯蒂安．麥茨的電影精神分析法，以“同性戀”電影從“想象”到“象征”及觀影的受虐與認(rèn)同兩個(gè)層面為基點(diǎn)解讀影像文本的視聽元素，找到了精神分析理論在電影個(gè)案中的表現(xiàn)依據(jù)并實(shí)踐了電影研究思路的拓展。 本文分析了華語“同性戀”電影中關(guān)于生存困境與現(xiàn)實(shí)的折射及對生命本體體驗(yàn)的關(guān)照兩方面內(nèi)容，探究了影片主題中對人性情欲的隱晦表達(dá)，并由此引發(fā)對該特定群體的關(guān)注與對個(gè)體存在價(jià)值的詰問與思考。 通過與同時(shí)期“西方同性戀電影”進(jìn)行對比，得出了中西文化認(rèn)同與道德接受方面的差異。進(jìn)一步闡述了華語“同性戀電影”之于中國電影整體發(fā)展的意義，以及存在的創(chuàng)作困境，最終以“接納存在，尊重差異”的立場著力于引導(dǎo)對“同性戀電影”的正確認(rèn)識。
[Abstract]:As an objective social phenomenon, "homosexuality", with its lifestyle and aesthetic taste, has evolved several times in the course of social and historical development, but it has been on the edge of the mainstream ideological discourse for a long time. With the combination of social and cultural context, "homosexuality" is presented as a unique subcultural form in the eyes of researchers and creators, and has been paid more and more attention. "gay film" has become an image of the way of expression, while "Chinese gay film" in the constant struggle and breakthrough in the exploration and attempt, gradually achieved good results and won the audience recognition. The discussion of Chinese-language gay film is becoming more and more intense and divergent. As one of the auxiliary theories in the development of film research, psychoanalysis plays an important role in forming an open structure of knowledge exchange in film research under the background of emphasizing the interrelation of subjects in modern society. This paper, from the perspective of psychoanalysis, makes a double analysis of the two aspects of the construction of the text of "homosexuality" and the audio-visual construction of the video text of the Chinese "gay film". On the one hand, it uses Freud's psychoanalytic method. In this paper, the author analyzes the text discourse of "homosexuality" from the perspective of the identity of the homosexual in the film, the homophobia in the lonely existence, and the meaning of the heterosexual to the gay. On the other hand, it uses Christian Metz's psychoanalysis method to interpret the audio-visual elements of the image text from the aspects of "imagination" to "symbolism" and the masochism and identity of the movie. Find out the performance basis of psychoanalysis theory in film cases and practice the development of film research ideas. This paper analyzes the refraction of the dilemma and reality of existence and the care of the experience of life in the Chinese film "homosexuality", and probes into the obscure expression of human desire in the theme of the film. It also causes the attention of this particular group and the questioning and reflection on the value of individual existence. The differences between Chinese and Western cultural identity and moral acceptance are obtained through comparison with the western gay films of the same period. This paper further expounds the significance of the Chinese language "gay film" to the overall development of Chinese films, as well as the existing creative difficulties, and finally focuses on guiding the correct understanding of "gay film" from the standpoint of "accepting existence and respecting differences".
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
本文編號：2149633
[Abstract]:As an objective social phenomenon, "homosexuality", with its lifestyle and aesthetic taste, has evolved several times in the course of social and historical development, but it has been on the edge of the mainstream ideological discourse for a long time. With the combination of social and cultural context, "homosexuality" is presented as a unique subcultural form in the eyes of researchers and creators, and has been paid more and more attention. "gay film" has become an image of the way of expression, while "Chinese gay film" in the constant struggle and breakthrough in the exploration and attempt, gradually achieved good results and won the audience recognition. The discussion of Chinese-language gay film is becoming more and more intense and divergent. As one of the auxiliary theories in the development of film research, psychoanalysis plays an important role in forming an open structure of knowledge exchange in film research under the background of emphasizing the interrelation of subjects in modern society. This paper, from the perspective of psychoanalysis, makes a double analysis of the two aspects of the construction of the text of "homosexuality" and the audio-visual construction of the video text of the Chinese "gay film". On the one hand, it uses Freud's psychoanalytic method. In this paper, the author analyzes the text discourse of "homosexuality" from the perspective of the identity of the homosexual in the film, the homophobia in the lonely existence, and the meaning of the heterosexual to the gay. On the other hand, it uses Christian Metz's psychoanalysis method to interpret the audio-visual elements of the image text from the aspects of "imagination" to "symbolism" and the masochism and identity of the movie. Find out the performance basis of psychoanalysis theory in film cases and practice the development of film research ideas. This paper analyzes the refraction of the dilemma and reality of existence and the care of the experience of life in the Chinese film "homosexuality", and probes into the obscure expression of human desire in the theme of the film. It also causes the attention of this particular group and the questioning and reflection on the value of individual existence. The differences between Chinese and Western cultural identity and moral acceptance are obtained through comparison with the western gay films of the same period. This paper further expounds the significance of the Chinese language "gay film" to the overall development of Chinese films, as well as the existing creative difficulties, and finally focuses on guiding the correct understanding of "gay film" from the standpoint of "accepting existence and respecting differences".
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
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