《桃花运》的女性主义剖析  

On Feminism of "Tao Huayun"

作　　者：潘萍[1] 段淑芳[1] 

机构地区：[1]湖南省委党校妇女理论教研部,湖南长沙410006

出　　处：《湖南冶金职业技术学院学报》2009年第4期49-51,共3页

摘　　要：2008年国产贺岁片《桃花运》塑造了三个女性主义角色:女性自我意识的苏醒与捍卫者晓美、传统贞操观念的坚守者章迎、后现代女性主义的代言人高姐,展现了传统贞操观念与后现代婚恋观、对爱情与婚姻的真诚信仰与怀疑批判的碰撞与冲突。同时,影片将女性主义理念与艺术技巧巧妙融合,进一步张显了作品的女性主义色彩。There are three feminist roles in 2008 China＇s New Year＇s film ＂Tao Huayun＂ ： Xiaomei, the rising and defenders of women＇s self-consciousness, Zhang Ying, who adhere to the traditional concept of chastity, and Sister Gao, the spokeswoman of post-modem feminist. It displayed the traditional concept of chastity and conception of marriage of post-modem, for love and marriage in good faith belief and skepticism and criticism of the collision and conflict. Meanwhile, the film integrated the feminist ideas and artistic skills, and further conveyed the author＇s feminist color.

关 键 词：《桃花运》 女性主义 婚恋观 

分 类 号：I207.351[文学—中国文学]