李玉电影中的女性角色关系探析  

Analysis on the Relations between Female Role in Li Yu's Movies

作　　者：袁萍[1] 叶楠[1] 

机构地区：[1]南昌大学人文学院中国语言文学系,江西南昌330031

出　　处：《南昌大学学报（人文社会科学版）》2011年第4期105-109,共5页Journal of Nanchang University(Humanities and Social Sciences)

摘　　要：《红颜》、《苹果》、《观音山》可谓是李玉的女性主义电影三部曲。这三部电影分别从不同的角度阐释了女性一生中所扮演的三个角色——女儿、妻子、母亲。《红颜》表现了僵持的母女关系;《苹果》展示了妻子与母亲的角色转换;《观音山》反映了女性角色的轮回。这三个角色在男性意识下衍发出微妙的关系。Dam Street,Lost in Beijing,Buddha Mountain are the trilogy of Li Yu＇s feminism movies.These three movies have explained three roles：the daughter,the wife,and the mother separately from different angles in feminine life acts.What＇s more,by refusing to compromise between the relations of the mother and the daughter in Dam Street,the transformation of the roles of wife and mother in Lost in Beijing,as well as the samsara of the three feminine roles in Buddha Mountain,under the masculine consciousness,these three roles spread out the subtle relations.

关 键 词：李玉 电影 女性角色 关系 

分 类 号：J905.2[艺术—电影电视艺术]