【摘要】：21世紀(jì)以來,電子科技時代的快速發(fā)展使得電影在全球范圍內(nèi)的號召力和影響力日趨擴(kuò)大,電影中傳遞的思想也越來越多的反映當(dāng)代社會的思想走勢。本文選取兩部炙手可熱的好萊塢電影《龍紋身的女孩》及《瘋狂的麥克斯:狂暴之路》來探討其所展現(xiàn)的新世紀(jì)暴力女性形象。本文以西蒙·德·波伏娃提出的存在主義女性主義為切入視角去挖掘女性成為父權(quán)社會背景下男性暴力承受者的深層次原因,并試圖揭示女性以暴制暴的可行性與進(jìn)步性。在父權(quán)社會,女人沒有主體地位,他者的身份的束縛致使她們的存在并缺乏超越性和創(chuàng)造性。父權(quán)制社會建立的文化和規(guī)定導(dǎo)致了女人的這種劣勢地位。西蒙娜·德·波伏瓦認(rèn)為女性只有在意識到自身超越性和內(nèi)在性的沖突之后,為實(shí)現(xiàn)獨(dú)立而奮斗,才能獲得女性的真正解放。兩部電影中女性均以訴諸暴力的形式完成了自身由被施暴者像是施暴者的轉(zhuǎn)變,由此擺脫了男性暴力對女性的身體折磨和精神控制�！洱埣y身的女孩》及《瘋狂的麥克斯:狂暴之路》中的女性的共性是,她們都以其自身的暴力實(shí)踐進(jìn)行女性的權(quán)利抗?fàn)?以暴力的方式反抗男性為中心的社會文化和倫理。不過,波伏娃在《第二性》也強(qiáng)調(diào)了女性的理想處境是在社會制度、男性觀念全面解放的前提下超越不利環(huán)境,全面實(shí)現(xiàn)女性作為個體“人”的價值。她堅(jiān)決反對將女性從男性世界中割裂出來,認(rèn)為婦女解放的目標(biāo)和理想結(jié)果是在承認(rèn)男女差異的基礎(chǔ)上實(shí)現(xiàn)兩性的完全平等及和諧共處,共同創(chuàng)造兩性組成的世界的美好未來。在《龍紋身的女孩》和《瘋狂的麥克斯:狂暴之路》中,女性并沒有以暴力繼續(xù)與男性保持對立關(guān)系,而是試圖在保證自身絕對自主的前提下探索與男性的和平共處。
[Abstract]:Since the 21st century, with the rapid development of electronic science and technology era, the appeal and influence of the film in the global scope are increasingly expanded, and the ideas transmitted in the film more and more reflect the ideological trend of the contemporary society. In this paper, two popular Hollywood films, the Girl with Dragon Tattoo, and the Crazy Max: the Road to violence, are selected to explore the images of violent women in the new century. From the perspective of existentialist feminism put forward by Simon de Bovova, this paper explores the deep reasons why women become male victims of violence in patriarchal society, and tries to reveal the feasibility and progress of female violence control by violence. In the patriarchal society, women have no subjective status, and the bondage of other's status leads to their existence and lack of transcendence and creativity. The culture and regulations established by patriarchal society lead to the inferior position of women. Simone de Beaufoy believes that women can be truly liberated only when they realize the conflict of transcendence and internality and strive for independence. In both films, women make their own transition from the aggressor to the perpetrator, in the form of violence. So they get rid of the physical torture and mental control of women from male violence. Girls with Dragon Tattoo and Mad Max: raging Road, they all fight for women's rights with their own violent practices. Revolt against male-centered social culture and ethics in a violent manner. However, in the second Sex, Bovova also emphasized that the ideal situation of women is to transcend the unfavorable environment under the premise of the social system and the complete emancipation of the male concept, and fully realize the value of women as individual "human". She firmly opposes the separation of women from the male world, believing that the goal and ideal result of women's liberation is to achieve full equality and harmonious coexistence of both sexes on the basis of recognizing the differences between men and women, and to jointly create a bright future for a world composed of men and women. In Girls with Dragon Tattoo and Mad Max: raging Road, women try to explore peaceful coexistence with men without violence.
【學(xué)位授予單位】：廣東外語外貿(mào)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 汪獻(xiàn)平;;娛樂還是抗?fàn)?——當(dāng)代女性暴力電影研究[J];戲劇(中央戲劇學(xué)院學(xué)報);2006年03期

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本文編號：2203193