【摘要】：本文指出"網(wǎng)生代電影"所塑造的人物形象是受眾參與創(chuàng)作,為受眾所創(chuàng)作,體現(xiàn)了受眾在當(dāng)下社會(huì)語(yǔ)境中的態(tài)度、欲望和審美;其次,本文解讀"網(wǎng)生代電影"塑造的"妥協(xié)于資本""為資本奮斗""為資本而漂泊""擁有資本""罔顧資本"的五類女性人物形象的文化意義,并區(qū)分了男性凝視中的女性和女性主義視野中的女性,指出前者映射了男性對(duì)資本邏輯的認(rèn)同,承擔(dān)了失意男性對(duì)創(chuàng)傷的宣泄,后者的"奮斗"則被愛(ài)情敘事所弱化,唯有罔顧資本的女性形象以對(duì)"性"話題的直白亮明了一種"獨(dú)立"姿態(tài)。最后,受眾在凝視中形成了重復(fù)指認(rèn)及再度內(nèi)化,從而局限了女性形象的塑造。
[Abstract]:This paper points out that the character image created by "Networked movies" is that the audience participates in the creation and is created by the audience, which reflects the audience's attitude, desire and aesthetics in the current social context. Secondly, this paper interprets the cultural significance of "compromise on Capital", "striving for Capital", "drifting for Capital", "owning Capital" and "ignoring Capital" in "Networked movies". It also distinguishes the female in the male gaze from the female in the feminist vision, pointing out that the former reflects the male's recognition of the logic of capital and undertakes the catharsis of the trauma by the frustrated man, while the latter's "struggle" is weakened by the love narrative. Only the image of women, ignoring capital, highlights an "independent" attitude to the topic of sex. Finally, audience in the gaze formed repeated identification and re-internalization, thus limiting the portrayal of women.
【作者單位】： 浙江傳媒學(xué)院電影學(xué)院;
【基金】：國(guó)家新聞出版廣電總局部級(jí)社科項(xiàng)目“‘網(wǎng)生代'電影變革以及政府引領(lǐng)策略研究”(項(xiàng)目編號(hào):GD1535) 浙江傳媒學(xué)院電影學(xué)學(xué)科建設(shè)階段性成果
【分類號(hào)】：J905
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本文編號(hào)：2455610