李少红与关锦鹏女性电影的比较研究
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摘要
女性电影在西方是一个特定的概念,与女权运动紧密相联,它非常强调女性的独立性。中国进入改革开放的新时期后,闭关自守的格局被打破,西方女性电影及其理论,开始为国人所借鉴和参照。于是,中国电影不再只是以往的通过女性形象反映女性在婚姻、恋爱、家庭以及社会价值体现方面的变迁,而是着意从女性意识入手,思考女性的独立自主、自我意识、性别差异、主体性意识等等问题,这无疑使中国的女性电影开拓了表现空间。因而,我们也应多角度地透析和理解现阶段的中国女性电影,多层面地解读和评价现阶段的女性电影。
本文首先对女性电影在内地与香港的兴起,及其受不同地域文化的影响承现出的不同特色做以概括。之后以内地导演李少红与香港导演关锦鹏的女性电影作品为切入点,通过对比分析探寻了他们的艺术创作风格及其形成过程,解读她们的创作与作品的现实意义,对女性主义在他们作品中的不同程度的体现做以概括,总结出他们的女性电影作品在我国现阶段的女性主义传播及女性意识的传达方面所具有的意义和价值,并对他们的作品目前还存在的问题也做了一定程度的探讨。争取以点代面,真实的反映出我国现阶段女性电影的发展状况。最后,就女性电影今后的生产与实践,且如何建构更强大的女性电影话语等问题提出了笔者一点自己的浅见。
The Female Film is a specifically idea in the western countries, which lays great emphasis on the female’s independence, and has a close link with the woman's rights. When the era of reforming time was coming, China’s closed-door policy was broken, the Female Film and its theory was brought into our country and referred by our countrymen. From then on, China’s film was not only a variation on the reaction of female’s marriage, love, family and social value, but also started to think about female’s independence, self-awareness, sex difference and the consciousness of main body. All about this was working through the female consciousness, which developed the space of Female Film of China, so we should dialyze and think about China’s Female Film from a different angle at the present stage.
The paper is divided into four parts to explain itself in four details:
Firstly, the paper generalizes the rise of Female Film in China and the characteristics which is influenced by different culture.
Secondly, the paper compares Female Film between LISHAOHONG and GUANJINPENG to illustrate the developing state of Female Film at this time in our country. The paper is not only explores the style and the meaning of their works, but also generalizes the level of feminism which showed in their works.
Thirdly, the paper summarizes the meaning and value of feminism and female consciousness which communicated in their Female Film works at this stage in our country, and it also investigates the existed problems in their works.
Lastly, I put forward some suggestions which mainly about the production and the practice of Female Film, and I also put forward some suggestions about how to construct the more powerful Female Film words.
本文首先对女性电影在内地与香港的兴起,及其受不同地域文化的影响承现出的不同特色做以概括。之后以内地导演李少红与香港导演关锦鹏的女性电影作品为切入点,通过对比分析探寻了他们的艺术创作风格及其形成过程,解读她们的创作与作品的现实意义,对女性主义在他们作品中的不同程度的体现做以概括,总结出他们的女性电影作品在我国现阶段的女性主义传播及女性意识的传达方面所具有的意义和价值,并对他们的作品目前还存在的问题也做了一定程度的探讨。争取以点代面,真实的反映出我国现阶段女性电影的发展状况。最后,就女性电影今后的生产与实践,且如何建构更强大的女性电影话语等问题提出了笔者一点自己的浅见。
The Female Film is a specifically idea in the western countries, which lays great emphasis on the female’s independence, and has a close link with the woman's rights. When the era of reforming time was coming, China’s closed-door policy was broken, the Female Film and its theory was brought into our country and referred by our countrymen. From then on, China’s film was not only a variation on the reaction of female’s marriage, love, family and social value, but also started to think about female’s independence, self-awareness, sex difference and the consciousness of main body. All about this was working through the female consciousness, which developed the space of Female Film of China, so we should dialyze and think about China’s Female Film from a different angle at the present stage.
The paper is divided into four parts to explain itself in four details:
Firstly, the paper generalizes the rise of Female Film in China and the characteristics which is influenced by different culture.
Secondly, the paper compares Female Film between LISHAOHONG and GUANJINPENG to illustrate the developing state of Female Film at this time in our country. The paper is not only explores the style and the meaning of their works, but also generalizes the level of feminism which showed in their works.
Thirdly, the paper summarizes the meaning and value of feminism and female consciousness which communicated in their Female Film works at this stage in our country, and it also investigates the existed problems in their works.
Lastly, I put forward some suggestions which mainly about the production and the practice of Female Film, and I also put forward some suggestions about how to construct the more powerful Female Film words.
引文
[1]Dale Spender. Men`s Studies Modified : The Impact of Feminism on the Academic Disciplines[M] . Elsevier Science Ltd,1981.25.
[2][5]邹涛.从“天使之生”到“宝贝之死”——转型社会对九十年代以来中国女性电影的影响[D]:[硕士学位论文].成都:西南交通大学,2006.11,31.
[3][34]李毅梅.女性电影的情感视角[J].华侨大学学报,2004(3):1,6.
[4]张敏.从新时期女性电影解读女性意识[J].江西社会科学,2003(11):1.
[6]周清平.性别政治话语中的优雅转身-中国新世纪女性电影研究[J].当代文坛,2007(2):2-6.
[7]Rodowick,D.N.The Difficulty of Difference[M].London:Routledge,1991.1-17.
[8][11][26]李颖.关锦鹏女性电影文本研究[D]:[硕士学位论文].贵阳:贵州师范大学,2005.8.
[9]蔡洪声.香港电影 80 年[C].见:蔡洪声 宋家玲 刘桂清主编. 当代电影论丛:香港电影 80 年. 北京:北京广播学院出版社,2000.12.
[10]Rosen,Pilip,ed.A Filn Theory Reader[J].New York:Columbia UP,1986.68-69.
[12]卢蓉.电视剧叙事艺术[M].北京:中国广播电视出版社,2004.183.
[13]张颐武.全球化与中国电影的转型[M].北京:中国人民大学出版社,2006.123.
[14][15]代风.献给“三八”节的礼物——关锦鹏和他的女性电影[J].电影,2007(3):51,52.
[16][17][31]谢晓霞,崔同科.女性视角、历史与镜像——李少红电影研究[J].当代文坛,2005(5):103-104.
[18]王虹.女性电影文本——从男性主体中剥离与重建[J].西南民族大学学报,2004(8):206.
[19]方芳.颠覆传统——关锦鹏电影角色特征与形成源泉[J].剧影月报,2006(6):12
[20]焦雄屏.映像中国[M].上海:复旦大学出版社,2005.170.
[21]孟晓琪.论李少红影视剧中的女性悲剧意识[J].宝鸡文理学院学报,2007(1):82.
[22][23]高明.李少红影视作品的女性形象特质分析[J].解放军艺术学院学报,2004(4):59,61,59.
[24]张燕.“看”与“被看”香港电影中的女性形象透视[J].电影艺术,2003(2):102-103.
[25] 陈 汉 泽 . 慢 慢 体 会 身 边 人 的 感 受 : “ 画 魂 ” 关 锦 鹏 [EB/OL]. http://ent.tom.com/Archive/1002/1589/2003/6/3-66518.html,2003-06-03.
[27]郭泽青.中国当代女性电影、女性生存及未来——以三部当代女性电影为例[J].莆田学院学报, 2006(3):75.
[28][29]孙慰川.关锦鹏的电影世界[J].电影新作,2002(3):44.
[30]冰莲.《胭脂扣》影评[EB/OL]. http://blog.sina.com.cn .2007-07-21.
[32]李经.历史人物的诗化重塑——试析《阮玲玉》视听语言的特色[J].电视研究,2002(1):69.
[33]宋爱平.坚守女性视角、创新影视移植——透过影视作品分析谈李少红的艺术创作[D]:[硕士学位论文].保定:河北大学,2006.35.
[35]Angela McRobbie.Feminism and Youth Culture[J].2000.80.
[36]丘静美.跨越边界香港电影中的大陆显影[C].见:郑树森主编.文化批评与华语电影.桂林:广西师范大学出版社.2003.10.
[37]Cynthia Carter,Gill Branston,Stuart Allan.News,Gender and Power[J].1998.107-108.
[38]何嵩昱.寻求缺失的话语——新时期女性电影叙事研究[D]:[硕士学位论文] 贵州师范大学 50-51.
[2][5]邹涛.从“天使之生”到“宝贝之死”——转型社会对九十年代以来中国女性电影的影响[D]:[硕士学位论文].成都:西南交通大学,2006.11,31.
[3][34]李毅梅.女性电影的情感视角[J].华侨大学学报,2004(3):1,6.
[4]张敏.从新时期女性电影解读女性意识[J].江西社会科学,2003(11):1.
[6]周清平.性别政治话语中的优雅转身-中国新世纪女性电影研究[J].当代文坛,2007(2):2-6.
[7]Rodowick,D.N.The Difficulty of Difference[M].London:Routledge,1991.1-17.
[8][11][26]李颖.关锦鹏女性电影文本研究[D]:[硕士学位论文].贵阳:贵州师范大学,2005.8.
[9]蔡洪声.香港电影 80 年[C].见:蔡洪声 宋家玲 刘桂清主编. 当代电影论丛:香港电影 80 年. 北京:北京广播学院出版社,2000.12.
[10]Rosen,Pilip,ed.A Filn Theory Reader[J].New York:Columbia UP,1986.68-69.
[12]卢蓉.电视剧叙事艺术[M].北京:中国广播电视出版社,2004.183.
[13]张颐武.全球化与中国电影的转型[M].北京:中国人民大学出版社,2006.123.
[14][15]代风.献给“三八”节的礼物——关锦鹏和他的女性电影[J].电影,2007(3):51,52.
[16][17][31]谢晓霞,崔同科.女性视角、历史与镜像——李少红电影研究[J].当代文坛,2005(5):103-104.
[18]王虹.女性电影文本——从男性主体中剥离与重建[J].西南民族大学学报,2004(8):206.
[19]方芳.颠覆传统——关锦鹏电影角色特征与形成源泉[J].剧影月报,2006(6):12
[20]焦雄屏.映像中国[M].上海:复旦大学出版社,2005.170.
[21]孟晓琪.论李少红影视剧中的女性悲剧意识[J].宝鸡文理学院学报,2007(1):82.
[22][23]高明.李少红影视作品的女性形象特质分析[J].解放军艺术学院学报,2004(4):59,61,59.
[24]张燕.“看”与“被看”香港电影中的女性形象透视[J].电影艺术,2003(2):102-103.
[25] 陈 汉 泽 . 慢 慢 体 会 身 边 人 的 感 受 : “ 画 魂 ” 关 锦 鹏 [EB/OL]. http://ent.tom.com/Archive/1002/1589/2003/6/3-66518.html,2003-06-03.
[27]郭泽青.中国当代女性电影、女性生存及未来——以三部当代女性电影为例[J].莆田学院学报, 2006(3):75.
[28][29]孙慰川.关锦鹏的电影世界[J].电影新作,2002(3):44.
[30]冰莲.《胭脂扣》影评[EB/OL]. http://blog.sina.com.cn .2007-07-21.
[32]李经.历史人物的诗化重塑——试析《阮玲玉》视听语言的特色[J].电视研究,2002(1):69.
[33]宋爱平.坚守女性视角、创新影视移植——透过影视作品分析谈李少红的艺术创作[D]:[硕士学位论文].保定:河北大学,2006.35.
[35]Angela McRobbie.Feminism and Youth Culture[J].2000.80.
[36]丘静美.跨越边界香港电影中的大陆显影[C].见:郑树森主编.文化批评与华语电影.桂林:广西师范大学出版社.2003.10.
[37]Cynthia Carter,Gill Branston,Stuart Allan.News,Gender and Power[J].1998.107-108.
[38]何嵩昱.寻求缺失的话语——新时期女性电影叙事研究[D]:[硕士学位论文] 贵州师范大学 50-51.