摘要
20世纪三四十年代风靡好莱坞的女性哥特电影受到女性主义批评的高度关注。本文首先讨论经典哥特电影的镜头语言,以希区柯克执导的《蝴蝶梦》为例,分析电影如何通过声效与物像的双重结构,暗示新型伦理关系虽在矛盾重重中得以确立,却未能尽弃旧恶。80年代以后,女性哥特电影再次盛行,揭示两性冲突在后女性主义时代进一步加剧。两个阶段的电影分属不同的文化阵营,新时期电影吸收了女性主义思想,直白地表现女性力量的崛起;减弱了早期影片的含混性,鲜明地体现出意识形态论战的特点,却因为对人物的刻板表现而失却了持久的艺术魅力。
The female gothic films popular in Hollywood in the 1930s and 1940s have received critical attention from feminist criticism.This paper firstdiscusses the lens language of classic femalc gothic films.TakingRebecca directed by Hitchcock as an example,it analyzes how filmsform a bi-textuality through soundeffects and object images,suggesting that although the new ethic has been established in the midstof contradictions,the old customs are not eliminated.After the 1980s,female gothic films become popular again,revealing that the conflictbetween sexes intensified in the post-feminist era.The films of the twostages belong to different cultural camps.The films of the new periodhave absorbed the feminist thought and showed the rise of femalepower in a straightforward way,with the ambiguity of the carly filmsbeing weakened and the characteristics of ideological controversyclearly reflected.Thus the enduring artistic charm of the early films islost becausc of the stereotypical represcntation of characters in the newfilms.
作者
欧翔英
Ou Xiangying(School of Overseas Education,Sichuan University)
出处
《探索与批评》
2020年第2期106-118,共13页
Inquiry and Criticism
