“抗争”与“绽放”——非洲电影《割礼龙凤斗》与《沙漠之花》的女性话语建构  

Resistance and Blooming:the Female Discourse Construction of African Film “Moolaade” and “The Desert Flower”

作　　者：牛莉莉 陈雪飞[1] LIU Lili;CHEN Xuefei(Zhejiang Normal University,Jinhua 321000,China)

机构地区：[1]浙江师范大学,浙江金华321000

出　　处：《商丘职业技术学院学报》2019年第1期62-65,共4页JOURNAL OF SHANGQIU POLYTECHNIC

摘　　要：塞内加尔导演奥斯曼·森贝拍摄的《割礼龙凤斗》与美国导演雪瑞·霍尔曼拍摄的《沙漠之花》两部电影同样讲述了反对非洲女性割礼的议题。但是,由于不同的文化立场、视觉形象和话语秩序,两部影片构建的非洲女性话语存在着诸多差异。从后殖民主义理论视角,对比身处本土文化场域的女性对割礼的抗争和在强势文化场域成长起来的非洲女性的抗争和绽放历程,从反抗的女性主体与被支配的女性客体、打破"刻板印象"与"被窥视"、女性话语权与西方话语霸权三部分来阐述非洲电影对女性话语构建的探索,以期更好地理解非洲女性。ISenegalese director Osman Senbey's “Moolaade” and American director Sherry Holman's “The Desert Flower” both tell the same story about the issue of opposing African female circumcision. However,due to different cultural standpoints,visual images and discourse order,there are many differences in African women's discourse constructed in two films. From the perspective of post-colonialism theory,this paper compares the women's resistance to circumcision in the field of local culture and the strong culture.It elaborates the exploration of the construction of female discourse in African films from three parts: the rebellious female subject and the dominated female object,the breaking of“Stereotype”and“Being Peeped,the female discourse power and the western discourse hegemony,in order to better understand African women.

关 键 词：割礼 女性 话语 

分 类 号：J905[艺术—电影电视艺术]