“双生花”题材的变体及阶层的再生与隐现——论《七月与安生》的叙事策略与内涵  

Transformation of the Genre of “Phantom Sisters” and the Emergence of Class:On the Narrative Strategy of Soulmate and Its Connotation

作　　者：王晓平[1] WANG Xiao - ping(School of Chinese Language and Culture, Huaqiao University, Xiamen 361021, China)

机构地区：[1]华侨大学华文学院,福建厦门361021

出　　处：《烟台大学学报（哲学社会科学版）》2018年第3期59-70,共12页Journal of Yantai University(Philosophy and Social Science Edition)

基　　金：国家社科基金项目"中国新生代导演电影的叙事研究"(17BZW064)

摘　　要：中国自1990年代初以来,借鉴法国电影,创造了一批"双生花"题材的艺术电影,《七月与安生》可以被看作是最新的一部这样的类型片,同时也有着明显的变异。一般认为这是一对自小"青梅竹马"的女孩在与一个男人的交往中所经历的成长史。然而,在对影片的情节与人物塑造结合社会现实这个"潜文本"的分析后我们会发现,它并非表面上的弘扬女性情谊与主体性的"女性电影",而是一部实质反女性主义的、被男性沙文主义立场所渗透的影片;它实质上反映了当今中国社会三个阶层之间的关系与互动;它表面上的中产阶级视角实际上也被资本逻辑所劫持。但由于它对中国社会的阶层关系没有清醒认识,因此对于"第三个阶层"缺乏清晰的表征。对影片叙述策略的分析,有助于我们理解艺术电影中的"文化与社会"的政治性内涵。Ever since the 1990s,emulating the French art cinema,Chinese directors have created a series of films which could be taken as the genre of＂phantom sisters＂. Soulmate could be taken as the most updated version with the most apparent transformation. Generally,it is taken as a story about the bildungsroman of a pair of girls,who are bosom friends,with their emotional experience with a man. However,after a careful analysis,this seeming ＂woman＇s film＂chanting women＇s friendship and subjectivity is in effect an anti-feminist movie filled with male-chauvinism. It actually shows the relations and interactions of three classes in contemporary Chinese society,but its ostensible middle-class perspective is hijacked by the logic of capital. Since the film does not hold a clear knowledge of Chinese class relations,it falls short of representing the ＂third class.＂

关 键 词：双生花 女性主义 资本阶层 中产阶层 尊严政治 

分 类 号：I207.35[文学—中国文学]