何谓“新女性”?--从电影布景看20世纪30年代的设计文化与性别区隔  

What is the“New Woman”?Design Culture and Gender Distinction in the 1930s from the Perspective of Film Sets

作　　者：汪燕翎[1] 贾茹 WANG Yanling;JIA Ru(Sichuan University,Chengdu 610207,China)

机构地区：[1]四川大学,成都610207

出　　处：《工业工程设计》2021年第3期5-12,共8页INDUSTRIAL&ENGINEERING DESIGN

基　　金：2020年四川大学研究生培养教育创新改革项目成果。

摘　　要：本文从《新女性》的电影布景切入20世纪30年代上海的社会空间,了解当时左翼思潮通过电影布景来对社会性别进行的区隔与塑造。在民族和经济的双重危机下,左翼电影对新女性的塑造和召唤与当时中国社会面临的现实问题息息相关。在电影中通过布景区隔出来的“新女性”是男性左翼知识分子的性别想象,但她们身上折射出的现代气质和革命气质却在国货运动中与民族国家的主体性相重叠,并化身为一种新的文化性别,在中国现代设计的发展之路上扮演了行动者和建构者的角色。This paper looks at the social space of Shanghai in the 1930s through the film sets design of New Woman to understand the way in which left-wing ethos at the time distinguished and shaped the social gender.In both national and economic crises,the shaping and calling of a“new women”in left-wing films was closely related to the realities that Chinese society was facing at the time.The several“new women”distinguished by sets in the film were the imagination of femininity of left-wing male intellectuals,but the modern and revolutionary temperament reflected in them overlapped with the subjectivity of the nation-state in the National Goods Campaign.It incarnates as a new cultural gender,and plays the role of actors and constructors on the road to the development of modern Chinese design.

关 键 词：电影布景 国货运动 性别区隔 现代设计 

分 类 号：J0[艺术—艺术理论] J59