论中国电影中父子(女)关系的变化  

Changes of Relationship between Paternity in Chinese Movies

作　　者：徐玥[1] 

机构地区：[1]南京师范大学新闻与传播学院,江苏南京210097

出　　处：《宜宾学院学报》2007年第4期98-100,共3页Journal of Yibin University

摘　　要：“父亲”在“家国一体”的中国传统社会有着特殊的内涵,在中国传统家庭伦理中处于至高无上的地位。父亲形象因此成为中国电影关于家庭、国家、社会和文化想象的重要能指符号。在不同时期的电影中,父亲形象呈现出不同姿态。中国早期电影展示了父亲威严的悲剧性失落;第四代电影塑造了革命的父亲,并在文革后重建了父亲形象;第五代影片经历了消极病态的封建父亲向人性化父亲转化的过程;第六代影片反映了当下父亲形象的多样化;港台电影提出了父亲在传统与现代的冲突面前的策略……本文通过对中国电影中父亲形象的回顾,探讨了随着社会的变迁,中国电影中父子(女)关系所发生的变化。＂Father＂ has special meanings in the Chinese traditional society which emphasizes the view that ＂the country and the family are the same essentially＂. Because of that, the fathers＇ role becomes all important symbol in Chinese movies＇ imagination about the family, the country, the society and the culture. In different periods, fathers＇ roles in the movies are different. Chinese early movies show the tragedy that traditional fathers lost their dignity. The fourth generation of Chinese movies builds the revolutionary fathers, and rebuilds new fathers＇ roles after the Cultural Revolutionary Movement. The fifth generation of Chinese movies creates the negative and morbid fathers, and makes them become humanity. The sixth generation of Chinese movies reflects the diversification of fathers＇ roles nowadays. Fathers＇ roles in movies of Hong Kong and Taiwan provide tactics to revolve the conflictions between tradition and modern. This article reviews the fathers＇ roles in the Chinese movies and discusses the changes of fathers＇ roles in the family life through father - son/daughter relationship, the way and the result that the paternity puts into effect.

关 键 词：父亲形象 父权 中国家庭伦理 父子(女)关系 

分 类 号：I207.351[文学—中国文学]