论明星身体在第四代女性电影中的运用与作用  

The Application and Functions of the Bodies of Movie Stars in the Fourth-Generation Female Movies

作　　者：林丹娅[1] 郭焱[1] 

机构地区：[1]厦门大学中文系

出　　处：《南开学报（哲学社会科学版）》2015年第6期92-102,共11页Nankai Journal:Philosophy,Literature and Social Science Edition

摘　　要：21世纪以来,随着消费文化大潮的席卷而来,中国第四代女性导演电影呈现出由文艺化个人书写向市场化商业制作转变的轨迹。而在此过程中,由于"明星身体"的必然性介入,产生与男权文化共谋的迹象,于是女性主体地位的弱化和女性主义色彩的淡薄,似乎成为当下中国女性电影的默认现状。但如果深入其间进行仔细考察与分析,我们会发现消费文化语境中"明星身体"作为一种策略,会是中国第四代女性电影从边缘走向主流的自主选择,其本身也会成为她们进行性别表达的展演场域,其互文性也会为第四代女性电影提供多层面多层次的阐释空间,从而可能走出了一条与此前不同的女性主体建构之路。With the arrival of the flood of consumer culture in the 21 st century, movies produced by the fourth-generation female directors begin to follow the trajectory shifting from artistic individual writing to commercial production.In this process, the inevitable presence of the bodies of movie stars coexists with patriarchal culture. As a result, the weakening of female subjectivity and feminist color becomes a default status for current Chinese female movies. However, if we have a closer examination of this process, we may find that the bodies of movie stars, as a strategy within the context of consumer culture, will be an autonomous choice for China＇s fourth-generation female movies to move from the marginal to the mainstream. The bodies of movie stars will also become a showcase for women＇s gender expression,and their inter-textuality will offer a multilayered and multidimensional room for the interpretation of the fourth-generation female movies, thus leading possibly to an unprecedented road for the construction of women＇s subjectivity.

关 键 词：明星身体 消费文化 第四代女性电影 

分 类 号：J912[艺术—电影电视艺术]