公共话语中的“女星”与“现代女性”想象——基于20世纪二三十年代印刷媒介的考察  

“Female Stars” in Public Discourse and the Imagined “Modern Women”: An Investigation of Print Media in the 1920s and 1930s

作　　者：许航[1] 

机构地区：[1]北京电影学院中国电影教育研究中心

出　　处：《南开学报（哲学社会科学版）》2015年第4期48-55,共8页Nankai Journal:Philosophy,Literature and Social Science Edition

基　　金：教育部哲学社会科学研究重大课题攻关项目(05JZD00030)

摘　　要：20世纪二三十年代,伴随着中国电影从初兴到第一次繁荣,各类流行印刷媒体中关于电影女明星的"言说"、展现电影女明星的图片等成为一种斑驳芜杂的都市公共话语。在电影工业发展、社会性别观念等因素的影响下,这一话语对电影女明星的评价整体上呈现出从负面转向正面的趋势,但当它针对某一明星个体,尤其是针对其"妇德"进行评价时,通常呈现为一种"惩戒式"话语。社会通过电影女明星对"现代女性"所进行的想象,首先是"摩登"的,她们通过服饰、照片参与现代生活方式的展演,并承载了社会对"摩登女郎"的价值要求;其次是"独立"的,她们经济上的独立、对表演事业的追求在大众媒介中被推崇;最后是"毁誉参半"的,她们虽然被称为"现代女性",但又被想象为"危险女人",并且和左翼力量提倡的"新女性"有很大区别。In the 1920 s and 1930 s, accompanying the initial development and prosperity of film industry in China,the stories about female movie stars together with their pictures in different kinds of popular print media became a jumbling urban public discourse. Due to the development of movie industry and gender concepts, this discourse＇s evaluation of female movie stars featured an overall trend from being negative to being positive. However, when this discourse was about a specific star, especially when it was evaluating a certain star＇s＂sense of morality as a woman,＂it would normally become a＂punitive＂discourse.＂Female movie stars＂were＂modern women＂imagined. First, they were modern.They participated in the showing of modern life style through their clothing and pictures, and they embodied the values society in general attached to＂modern women.＂Second, they were＂independent.＂Their financial independence and their devotion to acting were highly praised in public media. Third, they were controversial. Though they were named as＂modern women,＂they were conceived as＂dangerous women,＂and were very different from what the left wing would claim as the＂new women.＂

关 键 词：公共话语 电影女明星 “现代女性”想象 

分 类 号：G206[文化科学—传播学]