东亚反性侵电影的叙事成规、现实语境与性别文化——为什么《嘉年华》不是中国版《熔炉》?  

The Narrative Mode in East Asian Anti-Sexual Abuse Films,the Context and the Gender Culture:Why Isn't Angels Wear White the Chinese Version of Silenced?

作　　者：魏英[1] WEI Ying(School of Arts, Xi＇an International St udies University, Xi＇an 710128, Shaanxi Province, China)

机构地区：[1]西安外国语大学艺术学院,陕西西安710128

出　　处：《妇女研究论丛》2018年第3期54-66,共13页Journal of Chinese Women＇s Studies

基　　金：教育部人文社会科学重点研究基地重大项目"中国当代大众文化形态;成因;演变及评价的诗学研究"(项目批准号:16JJD750009);教育部人文社会科学重点研究基地重大项目"中国当代大众文化的发生研究"(项目批准号:15JJD750003)的阶段性成果;受西安外国语大学科研基金资助(项目编号:16XWC05)

摘　　要：东亚反性侵电影是一种电影类型,以韩国电影《熔炉》为典范,形成了倾向于受害者的伦理立场、善恶分明的人物、悲剧性结局、煽情风格等成规,将现实主义美学与类型叙事结合在一起。《嘉年华》沿用又创新了反性侵电影的叙事成规。东亚反性侵电影结合本土现实议题、挑战或部分沿用传统性别观念,将反性侵议题与民主化等问题相结合,使电影成为文化公共性的组成部分。Anti-sexual abuse is a theme in film making in more than one countries in East Asia. The Korean film Silenced representing this type of films has the following characteristics ： that the film adopts the perspective of a victim in a sensational style, that the main characters are clearly differentiated between bad and good,that the film has a tragic ending. These are the characteristics that are com- monly seen in Anti-sexual abuse films that combine realistic aesthetics and genre films, such as crime films. Angels Wear White not only inherits but also improves the mode of narration in East Asian Anti-sexual abuse films. Adapting to local issues the East Asian anti-sexual abuse films have challenged, though sometimes continued, traditional gender stereotypes. Combining anti-sexual abuse discussions with those of democratization, the East Asian anti-sexual abuse films have made films a part of public consumption of culture.

关 键 词：反性侵 叙事成规 性别 公共领域 

分 类 号：C913.14[经济管理]