21世紀(jì)以來中國女性導(dǎo)演的電影創(chuàng)作探究
發(fā)布時間：2019-06-06 07:09
【摘要】：本文以女性主義電影理論為依據(jù),選擇二十一世紀(jì)以來中國女導(dǎo)演的電影進(jìn)行分析。首先是從中國女性導(dǎo)演整個歷時性的發(fā)展中,探尋進(jìn)入21世紀(jì)以來女性導(dǎo)演的電影創(chuàng)作所發(fā)生的一些改變。其次是選取某些具有明顯女性電影特色的影片進(jìn)行文本細(xì)讀,主要是從兩個大的方面,第一是對于影片內(nèi)容的女性主義解讀。在對影片中塑造的女性形象以及女性獨(dú)特心理和精神的深入挖掘中,探尋電影中的女性意識和女性因素。其次是有關(guān)電影語言的分析,即在電影中,女性導(dǎo)演如何運(yùn)用電影表現(xiàn)女性意識,對電影語言進(jìn)行性別化的讀解。最后是將女性導(dǎo)演的主流商業(yè)電影創(chuàng)作與女性電影創(chuàng)作進(jìn)行比較,凸顯出女性導(dǎo)演在主流電影中對于女性意識的妥協(xié)與退讓。 本文主要分為四個章節(jié),以求展示21世紀(jì)以來的中國女性導(dǎo)演的女性電影在女性形象、女性視角、女性鏡頭語言等方面所綻放出來的炫麗光芒。分析得出了在商業(yè)化和主流意識形態(tài)的雙重制約下,女性導(dǎo)演必須做到共贏才能擁有更大的市場的結(jié)論。第一章論述了女性的存在以及女性電影理論的發(fā)展流變。第二章從歷時性方向?qū)χ袊娪吧铣霈F(xiàn)過的女性導(dǎo)演進(jìn)行梳理,概述她們的主要作品在影片內(nèi)容和電影語言的運(yùn)用等方面的不同追求,以及作品中呈現(xiàn)出來的女性意識。沿用的是代際劃分的方法,從整體上把握女性導(dǎo)演創(chuàng)作群體的創(chuàng)作特點。對于21世紀(jì)以來的女性導(dǎo)演的創(chuàng)作特色從對于導(dǎo)演權(quán)力的爭取、女性私人化經(jīng)驗的表述和類型片的僭越三個方面進(jìn)行做了大致的宏觀的歸納。第三章從敘事角度入手,對現(xiàn)代女性形象和女性情誼的精確、細(xì)膩的把握來對女性電影中表現(xiàn)出的女性新敘事視角進(jìn)行分析。第四章分析女性電影對于傳統(tǒng)電影語言的批判,通過對鏡頭語言的女性化解讀,解析出女性電影特有的電影語言。結(jié)語中對主流商業(yè)電影類型中的女導(dǎo)演的創(chuàng)作進(jìn)行分析,凸顯女性導(dǎo)演在商業(yè)電影中對于女性意識的堅守與妥協(xié)。通過與女性導(dǎo)演商業(yè)電影的比較,針對消費(fèi)時代的女性電影創(chuàng)作提出一些思考。
[Abstract]:Based on the feminist film theory, this paper analyzes the films of Chinese female directors since the 21 century. First of all, from the whole diachronic development of Chinese female directors, this paper explores some changes in the film creation of female directors since the beginning of the 21st century. Secondly, some films with obvious female film characteristics are selected for careful reading, mainly from two aspects, the first is the feminist interpretation of the film content. In the deep excavation of the female image and the unique psychology and spirit of the film, this paper explores the female consciousness and female factors in the film. The second is the analysis of the film language, that is, in the film, how female directors use the film to express female consciousness and read the film language sexualized. Finally, the mainstream commercial film creation of female directors is compared with that of female film creation, which highlights the compromise and concession of female directors to female consciousness in mainstream films. This paper is divided into four chapters in order to show the dazzling light of female films directed by Chinese women since the 21st century in the aspects of female image, female perspective, female lens language and so on. Under the dual restriction of commercialization and mainstream ideology, it is concluded that female directors must win-win in order to have a larger market. The first chapter discusses the existence of women and the development of female film theory. The second chapter combs the female directors who have appeared in Chinese films from the diachronic direction, and summarizes the different pursuits of their main works in the aspects of film content and the use of film language, as well as the female consciousness in their works. The method of intergenerational division is used to grasp the creative characteristics of female directors as a whole. This paper makes a general macro summary of the creative characteristics of female directors since the 21st century from three aspects: the struggle for director power, the expression of female privatization experience and the overstepping of type films. The third chapter analyzes the new narrative perspective of women in female films from the narrative point of view, the accurate and delicate grasp of modern female images and female friendship. The fourth chapter analyzes the criticism of the traditional film language in the female film, and analyzes the unique film language of the female film through the female reading of the lens language. In the conclusion, the author analyzes the creation of female directors in the mainstream commercial film types, and highlights the adherence and compromise of female directors to female consciousness in commercial films. Through the comparison with the commercial film of female director, this paper puts forward some thoughts on the creation of female film in the era of consumption.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905
本文編號：2494162
[Abstract]:Based on the feminist film theory, this paper analyzes the films of Chinese female directors since the 21 century. First of all, from the whole diachronic development of Chinese female directors, this paper explores some changes in the film creation of female directors since the beginning of the 21st century. Secondly, some films with obvious female film characteristics are selected for careful reading, mainly from two aspects, the first is the feminist interpretation of the film content. In the deep excavation of the female image and the unique psychology and spirit of the film, this paper explores the female consciousness and female factors in the film. The second is the analysis of the film language, that is, in the film, how female directors use the film to express female consciousness and read the film language sexualized. Finally, the mainstream commercial film creation of female directors is compared with that of female film creation, which highlights the compromise and concession of female directors to female consciousness in mainstream films. This paper is divided into four chapters in order to show the dazzling light of female films directed by Chinese women since the 21st century in the aspects of female image, female perspective, female lens language and so on. Under the dual restriction of commercialization and mainstream ideology, it is concluded that female directors must win-win in order to have a larger market. The first chapter discusses the existence of women and the development of female film theory. The second chapter combs the female directors who have appeared in Chinese films from the diachronic direction, and summarizes the different pursuits of their main works in the aspects of film content and the use of film language, as well as the female consciousness in their works. The method of intergenerational division is used to grasp the creative characteristics of female directors as a whole. This paper makes a general macro summary of the creative characteristics of female directors since the 21st century from three aspects: the struggle for director power, the expression of female privatization experience and the overstepping of type films. The third chapter analyzes the new narrative perspective of women in female films from the narrative point of view, the accurate and delicate grasp of modern female images and female friendship. The fourth chapter analyzes the criticism of the traditional film language in the female film, and analyzes the unique film language of the female film through the female reading of the lens language. In the conclusion, the author analyzes the creation of female directors in the mainstream commercial film types, and highlights the adherence and compromise of female directors to female consciousness in commercial films. Through the comparison with the commercial film of female director, this paper puts forward some thoughts on the creation of female film in the era of consumption.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905
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