从小说到电影:《庭院里的女人》中的性别民族寓言和白人拯救神话  

From Novel to Film:Gender-nation Discourse and the White Savior Myth in Pavilion of Women

作　　者：杨静[1] 

机构地区：[1]广东外语外贸大学,广州510420

出　　处：《广东外语外贸大学学报》2012年第3期87-92,共6页Journal of Guangdong University of Foreign Studies

摘　　要：传统好莱坞电影习惯将中国女性塑造为天真娇媚的尤物或温驯蒙昧的牺牲品,总在等待白人英雄的启蒙救赎。作为叙事结构中被抑制的客体和被讲述的对象,银幕上充满异国风情的中国女性迎合着西方观众的集体窥私欲望,并满足了他们深入蛮邦征服救赎的幻想,帮助他们建构了民族和国家的自我形象。这套叙事模版在2001年拍摄的改编自赛珍珠小说《群芳亭》(1946,Pavilion of Women)的影片《庭院里的女人》(Pavilion of Women)里出现了有趣的转变。在这部由华裔影人主导、全球发行的影片中,来自中国"他者"的声音和西方文明拯救中国的话语纠缠冲突,刺激了大洋两岸不同位置的观影者。本文拟通过探讨影片的改编营销策略和文本叙事,来解析全球化语境里的性别民族寓言与白人拯救神话之间的冲突和妥协,以及西方文化中心主义话语在新世纪之初的微妙调整。Hollywood films used to depict Chinese women as exotic seductresses or submissive victims awaiting the white hero＇s enlightenment and redemption. As a passive object of the narrative structure, these Chinese women on screen accommodate Western audiences＇ voyeuristic fantasy and help them construct self-identity. The narrative paradigm is re-written in a 2001 film Pavilion of Women adapted from Pearl S. Buck＇s bestseller Pavilion of Women （1946）. In this Hollywood film dominated by Chinese filmmakers, the intertwining discourses of the Chinese ＂other＂ and the Western civilization saving China disturb the differently positioned audiences across the globe. The essay will analyze film adaptation tactics and textual strategies to illustrate the clashes and compromises between the rising gender-nation consciousness and the white savior myth at the start of the new century.

关 键 词：白人拯救神话 性别民族寓言 中国女性塑造 电影改编策略 文本叙事 

分 类 号：J904[艺术—电影电视艺术]