【摘要】：從劇場(chǎng)舞臺(tái)到影廳銀幕,《驢得水》成功地實(shí)現(xiàn)了從話劇到電影之間的藝術(shù)形式轉(zhuǎn)換,將它的諷刺與批判傳達(dá)給更多的觀眾�！扼H得水》以四位鄉(xiāng)村教育工作者以驢代人吃空餉的事情作為契機(jī),引發(fā)了一場(chǎng)鬧劇,折射出那一歷史時(shí)段的社會(huì)問(wèn)題。張一曼作為影片中最核心的女性角色,不僅呈現(xiàn)了從身體到意識(shí)上的女性主體構(gòu)建過(guò)程,也對(duì)男性權(quán)威進(jìn)行了反抗,她的命運(yùn)與悲劇揭示了女性長(zhǎng)久以來(lái)受到的不公正對(duì)待,這種情形不僅存在于歷史中,而且是現(xiàn)代社會(huì)依舊未能徹底解決的問(wèn)題。
[Abstract]:From the theater stage to the cinema screen, Donkey Water successfully realizes the transformation of artistic form from drama to film, and conveys its satire and criticism to more viewers. "Donkey Water" takes four rural educators as an opportunity to take the empty pay of donkey people as an opportunity to trigger a farce that reflects the social problems in that historical period. Zhang Yiman, as the core female character in the film, not only presents the process of constructing the female subject from the body to the consciousness, but also rebelled against the male authority. Her fate and tragedy reveal the injustice that women have been treated for a long time. This situation not only exists in history, but also is still a problem that can not be completely solved in modern society.
【作者單位】： 海南熱帶海洋學(xué)院;
【分類號(hào)】：J905

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