无声的叛逆:近年国产青春片中的少女形象与性别叙事  

Silent Rebellion:Girls'Images and Gender Narration in Contemporary Chinese Youth Films

作　　者：周舒燕 ZHOU Shuyan(School of Communication,Soochow University,Soochow,Jiangsu 215123,China)

机构地区：[1]苏州大学传媒学院,江苏苏州215123

出　　处：《广州大学学报（社会科学版）》2020年第6期57-66,共10页Journal of Guangzhou University:Social Science Edition

摘　　要：近十年来,国产青春片在商业浪潮之外,开始走向了主题、叙事与风格上的现实主义探索,并打开了一种性别差异化的视角,尤其是以少女为叙事主体的一系列佳作开始出现在大众文化领域。从性别的角度对近十年的青春电影进行梳理与总结可以发现,女性视角的介入对青春片叙事与女性形象的塑造产生了重要影响。以少女为主角的现实主义青春片,其叙事中对于少女的文化困境、人际关系、认同与欲望的再现和表达,使潜隐在电影性别叙事背后的权力变化和文化内涵得以呈现。从怀旧式的“校园女神”到现实反思下的“问题少女”,我国青春片叙事视角与女性形象的转变,不仅为该类型电影的发展注入了新的活力,也对当下青少年尤其是身处边缘位置的青少女所面对的文化困境进行了再现与质询。In spite of their commercial trends in the past ten years, Chinese youth films have focused on the realistic topics, narratives and style, and opened a perspective based on gender difference, by talking about the stories of young girls. Regarding to the gender issues in the youth films, the female image and the youth narrative have been greatly impacted and changed by the directors′ feminist perspective. In the films about girls, many stories deeply described the girls′ cultural dilemma, the difficult personal relations, and their desire and gender identification, thus implied the existing power relation and cultural discourse that constructed the girls′ delicately subject. The change of the female image from a "campus belle" to a "problem girl" demonstrated that the youth films transformed the nostalgia fantasy to a realistic fable;and the genre regained the new blood. By examining the representation of girls in films in the last ten years, the paper analyzed the subjectivity of the youth, especially the girls who were socially and culturally marginalized.

关 键 词：青春电影 少女形象 性别叙事 女性欲望 

分 类 号：J90[艺术—电影电视艺术]