影像奇观·他者凝视·自我叙事:奥运官方电影中的女性形象呈现  

Image Spectacle·Gaze of Others·Self-Narrative:The Presentation of Women’s Images in IOC Official Films

作　　者：龚伟亮[1] 陈育嵩 GONG Weiliang;CHEN Yusong

机构地区：[1]中国传媒大学传播研究院,100024

出　　处：《中华女子学院学报》2022年第3期88-94,共7页Journal of China Women＇s University

摘　　要：通过分析历届夏季奥运会官方电影(1912—2016)中的女性形象呈现,研究这种呈现变迁背后展现的女性奥林匹克历史变迁。奥运会举办初期,以性别为沟壑,女性运动员被长期排斥在奥运赛场之外。随着世界范围内两性平等思潮的深化,在内外部相关因素共同作用下,奥林匹克运动对女性的接纳更趋平等。研究发现,奥运官方电影对于女性形象的表达方式更趋多元,从单纯地展示体育赛事中的女性,到项目和人物的穿插,再到注重奥运赛场上的女性人物故事;运动员身份从单一走向多元,女性形象从保守含蓄走向个性化,在性格呈现上也从单纯的身体表达转向反映人格品质与人物光辉的层面。奥运官方电影中的女性形象呈现经历了从引人瞩目的影像奇观,到成为他者的凝视对象,再到自我叙事的转变。This article examines the representation of women in the official films of the Summer Olympics(1912-2016) and analyzes the historical changes of women in the Olympic Games behind the changes in this representation. In the early days of the Olympic Games, female athletes were excluded from the Olympic Games for a long time because of the gender gulf. With the deepening of gender equality worldwide, the Olympic movement has become more equal in its acceptance of women due to a combination of internal and external factors. The films have become more diversified in the expression of women’s image, from simply showing women in sports events to interspersing projects and characters, and then focusing on the stories of women’s characters in the Olympic Games;the identity of athletes has changed from single to multiple, the image of women has changed from conservative and subtle to personalized, and the presentation of character has changed from simple physical expression to reflecting the quality of personality and the glory of characters. In general, the image of Olympic women has undergone a transformation from an eye-catching image spectacle to an object "gazed" from the other’s perspective to a self-narrative.

关 键 词：奥运官方电影 女性形象 性别平等 奇观 他者视角 自我叙事 

分 类 号：C913.68[经济管理]