厌女症抑或伪生态——论希区柯克的电影《群鸟》及其周边文本  

Misogyny or pseudo ecology:On Hitchcock’s The Birds and its surrounding texts

作　　者：赵牧 Zhao Mu

机构地区：[1]广西大学文学院

出　　处：《文化研究》2021年第3期216-234,共19页Cultural Studies

基　　金：广西大学文学与文化研究中心“西方经典电影的精神分析批评及作者论研究”的阶段性成果。

摘　　要：因为人和自然关系日趋紧张,希区柯克的《群鸟》这部处理家庭伦理纠葛的影片越来越被赋予天启意味。但女主人公梅兰妮对母子潜在乱伦关系的介入及其与不断加强的群鸟攻击的关系,却一再提醒人们从精神分析角度发现并阐释“男性中心主义”主导下的“厌女症”倾向,而所谓的“母性超我”也成为解释其中复杂人际冲突的重要概念。然而问题不仅在于此,因为借助周边文本的阐释,不难发现其不仅隐含着希区柯克对世界不确定性的体验,而且植入了他深陷其中的影响焦虑和情感危机,并由此理解该片的拐点意义,而传记电影《金发缪斯》正立足于此,试图以影像方式对《群鸟》进行精神分析式解读。Because of the rising tension between human and nature,a Hitchcock film,The Birds,dealing with family ethical disputes,have been given more and more apocalyptic meaning.But the heroine Melanie’s involvement in the potential incestuous relationship between mother and child,and the growing relationship between bird attacks,has repeatedly reminded people from the perspective of psychoanalysis to discover and interpretthe tendency of misogyny under the dominance of“androcentrism”.The so-called“maternal superego”has also become an important concept to explain the complex interpersonal conflicts.However,that is not the only problem,because of the interpretation of its surrounding texts,it is not difficult to find that it not only implies Hitchcock’s uncertain experience of the world,but also implants his deep-seated affect anxiety and emotional crisis,and understand from this.The inflection point of the film is of significance,and the biographical film The Muse of Blond Hair is based on this,trying to use the video to make a psychoanalytic interpretation of The Birds.

关 键 词：《群鸟》 希区柯克“厌女症” 伪生态 

分 类 号：J905[艺术—电影电视艺术]