“她经济”视角下解读小妞电影的女性凝视  

An Analysis of Chick Flick's Female Gaze from a Perspective of "Her Economy"

作　　者：周培勤[1] 

机构地区：[1]南京大学社会学院社会学系,江苏南京210023

出　　处：《妇女研究论丛》2015年第1期61-70,共10页Journal of Chinese Women＇s Studies

基　　金：国家社会科学基金青年项目"社会转型与大众文化消费的变迁调查研究"(项目编号:11CSH033)的阶段成果

摘　　要：小妞电影是好莱坞创造出来的一种电影类型,被中国的电影产业引进之后发展很快,甚至在短短几年之内改变了中国电影观众的性别比例。与传统电影的男性视角不同,小妞电影提供了大量女性凝视的机会,这也是中国流行文化中的一个较新的现象。本研究从"她经济"的视角来分析,揭示出这种女性的凝视是在"剩女"的语境中基于消费力的基础之上而实现的,小妞电影因而体现着浓厚的消费主义,并且延续了传统的性别主义。但在理解这些电影文本的时候,女性观众是被动地受着文化工业的操控,还是有着强大的自主性,这有待进一步的经验研究。＂Chick flick＂ is one kind of film genre invented by Hollywood, and was imported by the Chinese movie industry a few years ago. This film genre has been developed so quickly that it has dramatically shifted the sex ratio of Chinese moviegoers. Unlike the male gaze provided by traditional movies, chick flick offers plenty of opportunities for female gaze, which is a recent phenomenon in Chinese popular culture. From the perspective of ＂her economy＂, this study points out that the female gaze is realized based on women audience＇s consumptive power within the culture of ＂leftover women＂. Generally speaking, these chick flicks glorify consumerism and continue to present a sexist ideology to society. It calls for further empirical studies to determine whether the cultural industry manipulates how women audience interpret these chick flicks or women can exercise their own subjectivity when approaching these movies.

关 键 词：小妞电影 女性凝视 剩女 她经济 文化工业 

分 类 号：J902[艺术—电影电视艺术]