阿尔莫多瓦电影中传统性别身份的颠覆
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摘要
佩德罗·阿尔莫多瓦的电影从侧面反映了西班牙自二十世纪七十年代以来的社会变迁,本文透过男性研究和性别研究的视角聚焦于阿尔莫多瓦对父权性别秩序和性别身份的颠覆,探讨了《捆着我,绑着我!》、《欲望法则》、《关于我母亲的一切》、《对她说》和《回归》五部作品中的不同性向的男性角色、女性角色和变性人。通过论述,本文认为阿尔莫多瓦打破了传统的性别秩序和身份,并在他的影像世界中建立了新的秩序。
第一章讨论阿尔莫多瓦影片中的异性恋男人。传统的男性气质在他的电影中始终是稀缺的,看似阳刚的男人也会被女性化,他们所展示的仅是受损的男性气质。父亲这一父权制度最权威的形象在他的影片中也被解构重塑,这是对父权制度的严重打击。男人间的友谊在阿尔莫多瓦的镜头下变得温情而富有表现力,这与传统好莱坞电影中用暴力和竞争来掩饰男性情感的表现手法颇为不同。
第二章阐述阿尔莫多瓦对女人的刻画。他所表现的女性气质往往是刚柔并济、阴阳共存的,而他影片中的母亲则可以分为代表父权制度的母亲和象征母权的母亲。阿尔莫多瓦的女性角色团结在一起,掌控自己的身体,遵从自身的欲望法则。
第三章关注阿尔莫多瓦的同性恋和变性人角色。本章首先讨论了通过手术自我塑造而成的变性人的真实性,是自我梦想和欲望的实现使她们变得真实,接着阐述了阿尔莫多瓦的角色的性别身份和性向的不确定性和流动性,最后,本章从凝视角度挖掘了阿尔莫多瓦电影中充满同性情欲色彩的凝视。
通过以上论述,本文得出结论:阿尔莫多瓦创造并挖掘了一系列身份模糊的不受性别和性向约束的个体,从而瓦解了传统父权定义的性别秩序和性别身份。
Pedro Almodovar's cinema is a reflection of the social transition taken place in Spain since 1970s, and the present study focuses particularly on the transition that highlights the subversion of the traditional patriarchal gender order. Through the lens of men's study and gender analysis, this study observes the heterosexual and homosexual males and females in Almodovar's five films, Tie Me Up! Tie Me Down!, The Law of Desire, All about My Mother, Talk to Her, and Volver, arguing that Almodovar has overthrown the conventional gender order and gender identity which reigns over our society, and has reconstructed a new order in his own cinematic world.
Chapter one, The Overthrown of Patriarchy, discusses the straight men characters in Almodovar's cinema. Almodovar's films have dispensed with traditional masculinity; even the macho figure is feminized and suggests an impaired masculinity. And fathers are absent in his films; Almodovar subverts the patriarchy by reconstructing its most representative image, father. The male friendship depicted by Almodovar is emotional and articulate, which is different from the traditional Hollywood's depiction of male love disguised in violence and competition.
Chapter two, The Empowered Femaleness, leads to the discussion of Almodovar's portrayal of women. Almodovarian femininity interweaves both masculine and feminine traits, and his treatment of mothers can be addressed from two aspects, the malevolent patriarchal mother and the benevolent matriarchal mother. In his cinema, female characters unite in emotional solidarity, affirming their right to control their own bodies and to attend to the law of their own sexualities and heterogeneous desires.
Chapter three, The Centering of the "Marginals", observes Almodovar's transsexual and homosexual roles. It firstly works through the paradox of the authenticity of the self-fabricated transsexuals, arguing that what makes them authentic is their dream realized; and then expatiates on the flexible and mutable gender identity and sexuality of Almodovar's characters. Finally, the chapter applies the gaze theory to explore the homoerotic gaze inscribed in Almodovar's depiction of man.
In conclusion, Almodovar creates and explores the representation of sexual beings, and bears with them unfixed identities which are independent of their sex and sexuality, thus rewrites the sexual and gender orders of the traditional patriarchy.
第一章讨论阿尔莫多瓦影片中的异性恋男人。传统的男性气质在他的电影中始终是稀缺的,看似阳刚的男人也会被女性化,他们所展示的仅是受损的男性气质。父亲这一父权制度最权威的形象在他的影片中也被解构重塑,这是对父权制度的严重打击。男人间的友谊在阿尔莫多瓦的镜头下变得温情而富有表现力,这与传统好莱坞电影中用暴力和竞争来掩饰男性情感的表现手法颇为不同。
第二章阐述阿尔莫多瓦对女人的刻画。他所表现的女性气质往往是刚柔并济、阴阳共存的,而他影片中的母亲则可以分为代表父权制度的母亲和象征母权的母亲。阿尔莫多瓦的女性角色团结在一起,掌控自己的身体,遵从自身的欲望法则。
第三章关注阿尔莫多瓦的同性恋和变性人角色。本章首先讨论了通过手术自我塑造而成的变性人的真实性,是自我梦想和欲望的实现使她们变得真实,接着阐述了阿尔莫多瓦的角色的性别身份和性向的不确定性和流动性,最后,本章从凝视角度挖掘了阿尔莫多瓦电影中充满同性情欲色彩的凝视。
通过以上论述,本文得出结论:阿尔莫多瓦创造并挖掘了一系列身份模糊的不受性别和性向约束的个体,从而瓦解了传统父权定义的性别秩序和性别身份。
Pedro Almodovar's cinema is a reflection of the social transition taken place in Spain since 1970s, and the present study focuses particularly on the transition that highlights the subversion of the traditional patriarchal gender order. Through the lens of men's study and gender analysis, this study observes the heterosexual and homosexual males and females in Almodovar's five films, Tie Me Up! Tie Me Down!, The Law of Desire, All about My Mother, Talk to Her, and Volver, arguing that Almodovar has overthrown the conventional gender order and gender identity which reigns over our society, and has reconstructed a new order in his own cinematic world.
Chapter one, The Overthrown of Patriarchy, discusses the straight men characters in Almodovar's cinema. Almodovar's films have dispensed with traditional masculinity; even the macho figure is feminized and suggests an impaired masculinity. And fathers are absent in his films; Almodovar subverts the patriarchy by reconstructing its most representative image, father. The male friendship depicted by Almodovar is emotional and articulate, which is different from the traditional Hollywood's depiction of male love disguised in violence and competition.
Chapter two, The Empowered Femaleness, leads to the discussion of Almodovar's portrayal of women. Almodovarian femininity interweaves both masculine and feminine traits, and his treatment of mothers can be addressed from two aspects, the malevolent patriarchal mother and the benevolent matriarchal mother. In his cinema, female characters unite in emotional solidarity, affirming their right to control their own bodies and to attend to the law of their own sexualities and heterogeneous desires.
Chapter three, The Centering of the "Marginals", observes Almodovar's transsexual and homosexual roles. It firstly works through the paradox of the authenticity of the self-fabricated transsexuals, arguing that what makes them authentic is their dream realized; and then expatiates on the flexible and mutable gender identity and sexuality of Almodovar's characters. Finally, the chapter applies the gaze theory to explore the homoerotic gaze inscribed in Almodovar's depiction of man.
In conclusion, Almodovar creates and explores the representation of sexual beings, and bears with them unfixed identities which are independent of their sex and sexuality, thus rewrites the sexual and gender orders of the traditional patriarchy.
引文
1. Peter Besas, Behind the Spanish Lens: Spanish Cinema Under Fascism and Democracy (Denver: Arden Press, 1985), 216.
2. Kathleen Vernon and Barbara Morris, ed. Post-Franco, Postmodern: The Films of Pedro Almodovar. (Westport, Conn: Greenwood Press, 1995.), 5.
3. Ibid., 6.
4. Ibid., 6.
5. Ibid., 6.
6. Ibid., 8.
7. Ibid., 9.
8. Ibid.,11.
9. Steven Marsh and Parvati Nair, ed. Gender and Spanish Cinema. (Oxford: Berg, 2004.), 53.
10. Paul Julian Smith, Desire Unlimited: The Cinema of Pedro Almodovar. (London: New York: Verso, 2000.), 3.
11. Kathleen Vernon and Barbara Morris, ed. Post-Franco, Postmodern: The Films of Pedro Almodovar. (Westport, Conn: Greenwood Press, 1995.), 10.
12. Steven Marsh and Parvati Nair, ed. Gender and Spanish Cinema. (Oxford: Berg, 2004.), 54.
13. Leo Bersani, Forms of Being: Cinema, Aesthetics, Subjectivity. (London: BFI, c2004.), 84.
14. Marvin D'Lugo, "Almodovar's City of Desire", Quarterly Review of Film and Video, 13.4 (1991), 47-65, p. 58.
1. Clyde W. Franklin, The Changing Definition of Masculinity, (New York: Plenum Press, c1984), 131.
2.Ibid.,127.
3.Ibid.,127.
4."Guion original",Madrid 1989.
5.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),103.
6.Clyde W.Franklin,The Changing Definition of Masculinity,(New York:Plenum Press,c1984),112-113.
7.Marsha Kinder,"Pleasure and the New Spanish Mentality:A Conversation with Pedro Almodovar," Film Quarterly 41.1(Fall 1987),43.
8.Roger Horrocks,Masculinity in Crisis." Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),77.
9.Ibid.,72.
10.Richard Green,The 'Sissy Boy Syndrome' and the Development of Homosexuality,(New Haven and London:Yale University Press,1987),66.
11.John MacInnes,The End of Masculinity:the Confusion of Sexual Genesis and Sexual Difference in Modern Society,(Philadelphia:Open University Press,1998),122.
12.Ibid.,123.
13.Roger Horrocks,Masculinity in Crisis.Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),149.
14.Ibid.,150.
15.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),54.
16.Roger Horrocks,Masculinity in Crisis:Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),73.
17.Clyde W.Franklin,The Changing Definition of Masculinity,(New York:Plenum Press,c1984),121.
18.Margaret Whitford,Luce Irigaray:philosophy in the feminine,(London;New York:Routledge,1991),79-80.
19.Roger Horrocks,Masculinity in Crisis:Myths,Fantasies and Realities,(New York: St. Martin's Press, 1994), 30.
20. Clyde W. Franklin, The Changing Definition of Masculinity, (New York: Plenum Press, c1984), 120.
21. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/hableconella/s inopsiseng.htm
1. Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16 (1975): 6-18. p. 17.
2. Roger Horrocks, Male Myths and Icons: Masculinity in Popular Culture, (Basingstoke, Hampshire: Macmillan, 1995), 62.
3. Ibid., 63.
4. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/hableconella/lydioeng.htm
5. Kathleen M. Vernon and Barbara Morris, eds. Post-Franco, Postmodern: The Films of Pedro Almodovar, (Westport, Conn.: Greenwood Press, 1995), 76.
6. Frederic Strauss, ed. Almodovar on Almodovar, (London/Boston, c1996), 57.
7. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/hableconella/lydioeng.htm
8. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
9. Marsha Kinder, "Pleasure and the New Spanish Mentality: A Conversation with Pedro Almodovar," Film Quarterly 41.1 (Fall 1987), 43.
10. Roger Horrocks, Masculinity in Crisis: Myths, Fantasies and Realities, (New York: St. Martin's Press, 1994), 27.
11. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
12. Paul Julian Smith, Desire Unlimited: The Cinema of Pedro Almodovar, (London: New York: Verso, 2000), 9.
13. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
14. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
1.Roger Horrocks,Masculinity in Crisis:Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),157.
2.http://www.dur.ac.uk/m.p.thompson/almodovar2.htm
3.Holly Devor,Gender Blending:Confronting the Limits of Duality,(Bloomington:Indiana University Press,c1989),ⅶ.
4.Paul Julian Smith,Desire Unlimited:The Cinema of Pedro Almodovar,(London:New York:Verso,2000),87.
5.Marvin D'Lugo,"Almod6var's City of Desire",Quarterly Review of Film and Video,13.4(1991),47-65,p.58.
6.http://www.clubcultura.com/clubcine/clubcineastas/almodovar/eng/engpeli_l ey.htm
7.October,43,1987,pp.197-222.
8.Ibid.,209.
9.Ibid.,212.
10.Paul Julian Smith,Desire Unlimited:The Cinema of Pedro Almodovar,(London:New York:Verso,2000),85.
11.Ibid.,p.85.
12.'La ley del deseo:guion',Madrid 1987.p.83
13.http://www.clubcultura.com/clubcine/clubcineastas/almodovar/eng/engpeli_l ey.htm
14.Laura Mulvey,"Visual Pleasure and Narrative Cinema," Screen 16(1975):6-18.p.15.
15.Ibid.,16.
16.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),54.
17.Paul Julian Smith,"Pornography,Masculinity,Homosexuality:Almod6var's Matador and La ley del deseo." In:Refiguring Spain:Cinema/Media/Representation./Marsha Kinder,editor,p:178-95.(Durham[N.C.]:Duke University Press,1997),186.
18.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),55.
19.Ibid.,79.
20.Paul Julian Smith,"Pornography,Masculinity,Homosexuality:Almodovar's Matador and La ley del deseo." In:Refiguring Spain:Cinema/Media/Representation./Marsha Kinder,editor,p:178-95.(Durham[N.C.]:Duke University Press,1997),182.
21.Ibid.,190.
22.Marsha Kinder,"Pleasure and the New Spanish Mentality:A Conversation with Pedro Almod6var," Film Quarterly 41.1(Fall 1987):40.
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2.Ibid.,162.
3.Stephen Heath,Questions of Cinema(Bloomington:Indiana University Press,1981),53.
4.Barbara Morris,"Almodovar's Laws of Subjectivity and Desire.In:Post-Franco,Postmodern:The Films of Pedro Almodovar./ edited by Kathleen M.Vernon and Barbara Morris.pp:87-97.(Westport,Conn.:Greenwood Press,1995.),91.
5.Ibid.,91.
6.Victor Fuentes,"Almodovar's Postmodern Cinema:A work in Progress.In:Post-Franco,Postmodern:The Films of Pedro Almodovar./ edited by Kathleen M.Vernon and Barbara Morris.pp:155-170.(Westport,Conn.:Greenwood Press,1995.),166.
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2. Kathleen Vernon and Barbara Morris, ed. Post-Franco, Postmodern: The Films of Pedro Almodovar. (Westport, Conn: Greenwood Press, 1995.), 5.
3. Ibid., 6.
4. Ibid., 6.
5. Ibid., 6.
6. Ibid., 8.
7. Ibid., 9.
8. Ibid.,11.
9. Steven Marsh and Parvati Nair, ed. Gender and Spanish Cinema. (Oxford: Berg, 2004.), 53.
10. Paul Julian Smith, Desire Unlimited: The Cinema of Pedro Almodovar. (London: New York: Verso, 2000.), 3.
11. Kathleen Vernon and Barbara Morris, ed. Post-Franco, Postmodern: The Films of Pedro Almodovar. (Westport, Conn: Greenwood Press, 1995.), 10.
12. Steven Marsh and Parvati Nair, ed. Gender and Spanish Cinema. (Oxford: Berg, 2004.), 54.
13. Leo Bersani, Forms of Being: Cinema, Aesthetics, Subjectivity. (London: BFI, c2004.), 84.
14. Marvin D'Lugo, "Almodovar's City of Desire", Quarterly Review of Film and Video, 13.4 (1991), 47-65, p. 58.
1. Clyde W. Franklin, The Changing Definition of Masculinity, (New York: Plenum Press, c1984), 131.
2.Ibid.,127.
3.Ibid.,127.
4."Guion original",Madrid 1989.
5.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),103.
6.Clyde W.Franklin,The Changing Definition of Masculinity,(New York:Plenum Press,c1984),112-113.
7.Marsha Kinder,"Pleasure and the New Spanish Mentality:A Conversation with Pedro Almodovar," Film Quarterly 41.1(Fall 1987),43.
8.Roger Horrocks,Masculinity in Crisis." Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),77.
9.Ibid.,72.
10.Richard Green,The 'Sissy Boy Syndrome' and the Development of Homosexuality,(New Haven and London:Yale University Press,1987),66.
11.John MacInnes,The End of Masculinity:the Confusion of Sexual Genesis and Sexual Difference in Modern Society,(Philadelphia:Open University Press,1998),122.
12.Ibid.,123.
13.Roger Horrocks,Masculinity in Crisis.Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),149.
14.Ibid.,150.
15.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),54.
16.Roger Horrocks,Masculinity in Crisis:Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),73.
17.Clyde W.Franklin,The Changing Definition of Masculinity,(New York:Plenum Press,c1984),121.
18.Margaret Whitford,Luce Irigaray:philosophy in the feminine,(London;New York:Routledge,1991),79-80.
19.Roger Horrocks,Masculinity in Crisis:Myths,Fantasies and Realities,(New York: St. Martin's Press, 1994), 30.
20. Clyde W. Franklin, The Changing Definition of Masculinity, (New York: Plenum Press, c1984), 120.
21. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/hableconella/s inopsiseng.htm
1. Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16 (1975): 6-18. p. 17.
2. Roger Horrocks, Male Myths and Icons: Masculinity in Popular Culture, (Basingstoke, Hampshire: Macmillan, 1995), 62.
3. Ibid., 63.
4. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/hableconella/lydioeng.htm
5. Kathleen M. Vernon and Barbara Morris, eds. Post-Franco, Postmodern: The Films of Pedro Almodovar, (Westport, Conn.: Greenwood Press, 1995), 76.
6. Frederic Strauss, ed. Almodovar on Almodovar, (London/Boston, c1996), 57.
7. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/hableconella/lydioeng.htm
8. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
9. Marsha Kinder, "Pleasure and the New Spanish Mentality: A Conversation with Pedro Almodovar," Film Quarterly 41.1 (Fall 1987), 43.
10. Roger Horrocks, Masculinity in Crisis: Myths, Fantasies and Realities, (New York: St. Martin's Press, 1994), 27.
11. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
12. Paul Julian Smith, Desire Unlimited: The Cinema of Pedro Almodovar, (London: New York: Verso, 2000), 9.
13. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
14. http://www.clubcultura.com/clubcine/clubcineastas/almodovar/volver.htm
1.Roger Horrocks,Masculinity in Crisis:Myths,Fantasies and Realities,(New York:St.Martin's Press,1994),157.
2.http://www.dur.ac.uk/m.p.thompson/almodovar2.htm
3.Holly Devor,Gender Blending:Confronting the Limits of Duality,(Bloomington:Indiana University Press,c1989),ⅶ.
4.Paul Julian Smith,Desire Unlimited:The Cinema of Pedro Almodovar,(London:New York:Verso,2000),87.
5.Marvin D'Lugo,"Almod6var's City of Desire",Quarterly Review of Film and Video,13.4(1991),47-65,p.58.
6.http://www.clubcultura.com/clubcine/clubcineastas/almodovar/eng/engpeli_l ey.htm
7.October,43,1987,pp.197-222.
8.Ibid.,209.
9.Ibid.,212.
10.Paul Julian Smith,Desire Unlimited:The Cinema of Pedro Almodovar,(London:New York:Verso,2000),85.
11.Ibid.,p.85.
12.'La ley del deseo:guion',Madrid 1987.p.83
13.http://www.clubcultura.com/clubcine/clubcineastas/almodovar/eng/engpeli_l ey.htm
14.Laura Mulvey,"Visual Pleasure and Narrative Cinema," Screen 16(1975):6-18.p.15.
15.Ibid.,16.
16.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),54.
17.Paul Julian Smith,"Pornography,Masculinity,Homosexuality:Almod6var's Matador and La ley del deseo." In:Refiguring Spain:Cinema/Media/Representation./Marsha Kinder,editor,p:178-95.(Durham[N.C.]:Duke University Press,1997),186.
18.Roger Horrocks,Male Myths and Icons:Masculinity in Popular Culture,(Basingstoke,Hampshire:Macmillan,1995),55.
19.Ibid.,79.
20.Paul Julian Smith,"Pornography,Masculinity,Homosexuality:Almodovar's Matador and La ley del deseo." In:Refiguring Spain:Cinema/Media/Representation./Marsha Kinder,editor,p:178-95.(Durham[N.C.]:Duke University Press,1997),182.
21.Ibid.,190.
22.Marsha Kinder,"Pleasure and the New Spanish Mentality:A Conversation with Pedro Almod6var," Film Quarterly 41.1(Fall 1987):40.
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2.Ibid.,162.
3.Stephen Heath,Questions of Cinema(Bloomington:Indiana University Press,1981),53.
4.Barbara Morris,"Almodovar's Laws of Subjectivity and Desire.In:Post-Franco,Postmodern:The Films of Pedro Almodovar./ edited by Kathleen M.Vernon and Barbara Morris.pp:87-97.(Westport,Conn.:Greenwood Press,1995.),91.
5.Ibid.,91.
6.Victor Fuentes,"Almodovar's Postmodern Cinema:A work in Progress.In:Post-Franco,Postmodern:The Films of Pedro Almodovar./ edited by Kathleen M.Vernon and Barbara Morris.pp:155-170.(Westport,Conn.:Greenwood Press,1995.),166.
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