摘要
作为一名男性导演,张作骥电影中呈现出解构男权的倾向,以及身份认同的焦虑。张作骥的八部长片,常以祖孙三代同堂来叙事,即阿公、父亲与子孙。从男性形象的角度审视张作骥的影片,表现出以下三种特征:"阿公"象征着传统"父权制"走向瓦解;父亲形象以逃避现实的姿态呈现出父位缺席;而边缘化的青年一代,在"弑父"的极端行为与"寻父"的未果中,陷入了身份认同的焦虑与性别迷思的双重困境。这种男性形象的困境及焦虑是导演张作骥秉承着"忠实再现"的创作原则,实践着对"真实台湾"的"在地性"思考。
As a male director, Chang Tso-chi’s film shows a tendency to deconstruct male power, and the anxiety of identity. Looking at Chang Tso- chi’s eight films, there are three generations of grandchildren are often in the family that is grandfather, father and offspring. Looking at Chang’s films from the perspective of male image, it shows the following three characteristics: the “fatherhood” symbolizes the disintegration of the traditional “patriarchy”;the father figure presents the absence of the father as an escape from reality;the marginalized young generation, in the extreme behavior of “patricide” and the failure of “father seeking”, fell into the dual predicament of identity anxiety and gender myth. Chang Tso-chi’s adheres to the creation principle of “faithful reproduction” and practices the “local” thinking of “real Taiwan”.
作者
孙力珍
SUN Li-zhen(School of Literary Arts, Nanjing Normal University, Nanjing 210046, China)
出处
《太原学院学报（社会科学版）》
2019年第3期87-93,共7页
Journal of Taiyuan University(Social Science Edition)
