时代景观中的主体焦虑表达--论近年来中国电影作品中的男性形象呈现  

Expression of Subjective Anxiety in the Landscape of the Times--On the Presentation of Male Images in Chinese Films in Recent Years

作　　者：叶凯 Ye Kai

机构地区：[1]山东艺术学院学报编辑部,山东济南250014

出　　处：《南京师范大学文学院学报》2020年第3期154-161,共8页Journal of School of Chinese Language and Culture Nanjing Normal University

基　　金：山东省艺术科学重点课题“‘五四’前后中国电影与文学、戏剧的关系研究”(编号:ZD201906114)。

摘　　要：电影作为叙事行为,可以呈现融合在时间与空间坐标中的时代性流动景观,其关键乃是在关乎文化价值的典型情境中凸显主体意义的人物塑造。以人本主义的观点看来,艺术核心是一切围绕人的想象性存在,而性别则是超越负载于人身上的繁复定义,在生物性与社会性把握的复合认知体系中,回归生命本质的观察视角。以此为立论基础,选取近年来制作发行的中国电影作品中为数众多而又特色迥异的男性人物形象,分析其中暗含的生物样态的原始功用、社会身份的理性认知、文化群落的归属定位,深度解读电影艺术与其依存的时代社会文化症候形成互动的方式,并展现凝聚于艺术作品中的主体焦虑及其想象性释放解决的机制。As a narrative behavior,film can present mobile landscape of the era integrated in the time and space coordinates.The key is to highlight the main significance of the characterization in the typical context of cultural value.From the perspective of humanism,the core of art is all around the imaginative existence of human beings,while gender is beyond the complex definition of human beings,and in the complex cognitive system of biological and social grasp,it returns to the observation perspective of the essence of life.Based on this,this paper selects a large number of male characters with different characteristics from the Chinese film works produced and released in recent years to see the original function of the implied biological form,the rational cognition of social identity,and the attribution of cultural communities,so as to deeply understand the interactive way between film art and the social and cultural symptoms of the times it depends on,and show what and how to show the main body anxiety and the mechanism of imaginative release in the works of art.

关 键 词：男性形象 社会身份 文化群落 主体焦虑 

分 类 号：J905[艺术—电影电视艺术]