論黃真真電影的女性書寫
發(fā)布時間：2018-11-14 09:55
【摘要】：在香港多樣化的社會文化熏陶下,孕育出了許多具有獨特風格的電影導演,女性導演黃真真就是其中之一。從最初港味十足的《女人那話兒》、《六樓后座》,再到近年轉(zhuǎn)戰(zhàn)內(nèi)地的《被偷走的那五年》、《消失的愛人》等作品,她的每部電影的風格與題材都不盡相同,但她的女性關懷卻始終如一。黃真真的影片基本上都以女性為表現(xiàn)對象,塑造了一系列性格迥異但都生動形象女性形象,真實展示了當代女性的風貌。但她并沒有止步于此,在塑造女性形象的同時她的影片也強調(diào)女性的個體存在價值,她用獨特的書寫手段展現(xiàn)著女性觀察到的世界,影片中流露出來的女性價值取向正是她對女性群體的深深關懷。本文通過對黃真真影片的女性書寫解讀,給現(xiàn)代女性的女性意識和女性地位帶來反思的機會,使女性能夠重構(gòu)自身的價值體系和生活方式,以期為女性電影的發(fā)展提供借鑒。本文首先對“女性書寫”理論進行了概述,提出了“女性書寫”的內(nèi)涵及其現(xiàn)實意義,并將此理論從文學領域延伸到了影視領域。其次簡要的介紹了黃真真的個人經(jīng)歷,并對其電影創(chuàng)作進行了系統(tǒng)的梳理,為全面理解文章打下了基礎。其中,重點對黃真真影片中的塑造的女性形象進行了細致的類型劃分。通過對比研究和個案分析法,筆者將女性主角分為獨立自主的現(xiàn)代女性、徘徊于傳統(tǒng)與現(xiàn)代之間的女性、男權(quán)中心下的傳統(tǒng)女性三種類型,并探討了母親與閨蜜兩種配角形象在其影片中的存在意義。通過分析研究黃真真電影中的女性形象,可以直觀的揭示黃真真女性書寫的立場與姿態(tài),感受到她作為“女性書寫者”的自覺。另外,從黃真真影片的本體出發(fā),本文通過對其電影題材、影片視角以及視覺表達的文本細讀,探討黃真真影片的藝術(shù)表現(xiàn)手法,詮釋她在女性書寫創(chuàng)作上的獨特之處與藝術(shù)價值,為“女性書寫”理論指導下的女性主義電影創(chuàng)作提供新的思路。最后站在文化角度上,提取了黃真真影片中較為突出的價值取向進行了分析,借此揭示黃真真溫和的女性意識與堅定的女性立場,并指出黃真真的創(chuàng)作為“女性書寫”的根本所在。
[Abstract]:Under the influence of Hong Kong's diverse social culture, there are many unique film directors, including female director Huang Zhenzhen. From the original Hong Kong style of "Women's talk", "the back seat on the sixth floor", to the recent transition to the mainland, "the five years stolen" and "lost Love" and other works, each of her films has different styles and themes. But her care for women has always been the same. Huang Zhenzhen's films basically take the female as the performance object, has molded a series of different disposition but all vivid image feminine image, has displayed the contemporary feminine style. But she didn't stop there. While she was portraying women, her films also emphasized the value of women's individual existence, and she used her unique writing techniques to show the world that women had observed. The female value orientation revealed in the film is her deep concern for the female group. Through the interpretation of Huang Zhenzhen's female writing, this paper brings the opportunity to reflect on the female consciousness and status of modern women, so that women can reconstruct their own value system and life style, in order to provide reference for the development of female films. This paper first summarizes the theory of "female writing", puts forward the connotation of "female writing" and its practical significance, and extends this theory from the literary field to the field of film and television. Secondly, it briefly introduces Huang Zhenzhen's personal experience, and systematically combs his film creation, which lays the foundation for an overall understanding of the article. Among them, the focus of Huang Zhenzhen film on the portrayal of the female image of a detailed classification. Through comparative study and case analysis, the author divides the female protagonist into three types: the independent modern woman, the woman wandering between tradition and modern, the traditional female under the center of male power. It also discusses the significance of supporting roles of mother and best friend in their films. By analyzing and studying the female images in Huang Zhenzhen's films, we can intuitively reveal the position and posture of Huang Zhenzhen's female writing, and feel her consciousness as a female writer. In addition, starting from the Noumenon of Huang Zhenzhen's film, this paper discusses the artistic expression of Huang Zhenzhen's film by reading the text of his film theme, movie angle and visual expression. It interprets her uniqueness and artistic value in female writing, and provides a new way of thinking for feminist film creation under the guidance of female writing theory. Finally, from a cultural point of view, the author extracts the more prominent value orientation in Huang Zhenzhen's film and analyzes it, thereby revealing Huang Zhen's gentle female consciousness and firm female stand. It also points out that Huang Zhenzhen's creation is the root of female writing.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J911
本文編號：2330836
[Abstract]:Under the influence of Hong Kong's diverse social culture, there are many unique film directors, including female director Huang Zhenzhen. From the original Hong Kong style of "Women's talk", "the back seat on the sixth floor", to the recent transition to the mainland, "the five years stolen" and "lost Love" and other works, each of her films has different styles and themes. But her care for women has always been the same. Huang Zhenzhen's films basically take the female as the performance object, has molded a series of different disposition but all vivid image feminine image, has displayed the contemporary feminine style. But she didn't stop there. While she was portraying women, her films also emphasized the value of women's individual existence, and she used her unique writing techniques to show the world that women had observed. The female value orientation revealed in the film is her deep concern for the female group. Through the interpretation of Huang Zhenzhen's female writing, this paper brings the opportunity to reflect on the female consciousness and status of modern women, so that women can reconstruct their own value system and life style, in order to provide reference for the development of female films. This paper first summarizes the theory of "female writing", puts forward the connotation of "female writing" and its practical significance, and extends this theory from the literary field to the field of film and television. Secondly, it briefly introduces Huang Zhenzhen's personal experience, and systematically combs his film creation, which lays the foundation for an overall understanding of the article. Among them, the focus of Huang Zhenzhen film on the portrayal of the female image of a detailed classification. Through comparative study and case analysis, the author divides the female protagonist into three types: the independent modern woman, the woman wandering between tradition and modern, the traditional female under the center of male power. It also discusses the significance of supporting roles of mother and best friend in their films. By analyzing and studying the female images in Huang Zhenzhen's films, we can intuitively reveal the position and posture of Huang Zhenzhen's female writing, and feel her consciousness as a female writer. In addition, starting from the Noumenon of Huang Zhenzhen's film, this paper discusses the artistic expression of Huang Zhenzhen's film by reading the text of his film theme, movie angle and visual expression. It interprets her uniqueness and artistic value in female writing, and provides a new way of thinking for feminist film creation under the guidance of female writing theory. Finally, from a cultural point of view, the author extracts the more prominent value orientation in Huang Zhenzhen's film and analyzes it, thereby revealing Huang Zhen's gentle female consciousness and firm female stand. It also points out that Huang Zhenzhen's creation is the root of female writing.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J911
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