“女英雄”——《木兰还乡图》中的形象建构与社会动员  

"Heroines":Image Construction of Mulan Returning back to Hometown and its Social Mobilization

作　　者：王树良 巴亚岭 Wang Shuliang;Ba Yaling

机构地区：[1]中国人民大学新闻与社会发展研究中心 [2]中国人民大学新闻学院

出　　处：《美术》2022年第11期80-85,共6页Art Magazine

基　　金：国家社科重大项目“百年未有之大变局下中国共产党形象全球传播与认同研究”(项目编号:21&ZD315)的研究成果。

摘　　要：历史典故中的“女英雄”是20世纪30年代上海画报、电影、戏曲等多种文化媒介用以动员社会力量积极抗战的关键形象之一,郑梅清、杭穉英、周柏生等月份牌画家以凝聚救国共识、聚合抗战力量为目的而联合创作的《木兰还乡图》便是其中的典型作品。作为抗战爱国话语的一次成功实践,图像中的“女英雄”形象与此前流行的,作为商业促销策略的“摩登女郎”“传统仕女”月份牌女性形象形成了鲜明的对比。该作着重表现花木兰战场凯旋的情景,以更广泛的多元情感观照、更全面的视觉“议程设置”和更广阔的意义表达空间,呈现出了更为综合的公共传播能量,成为当时众多媒介动员社会力量积极抗战的重要组成部分。"Heroines"in allusions were one of the key images used in posters,movies and operas to mobilize the whole society to fight against the Japanese aggression in the 1930s in Shanghai.A representative artwork of this was Mulan Returning back to Hometown by Zheng Meiqing,Hang Zhiying,Zhou Baisheng and other calender poster artists,which was created to build a consensus of saving the country and pool strength in the War against Japanese Aggression.This painting,also a successful attempt,contained"heroines"that were in sharp contrast to common female images in calendar posters including"modern ladies"and"traditional ladies".With more diverse emotions,more comprehensive visual effects and a broader room to express meaning,this painting highlighted the victory of Hua Mulan in a war to better spread positive energy,which played an important role in mobilizing the whole society to fight against Japanese aggressors.

关 键 词：月份牌 女英雄 视觉转喻 社会动员 公共传播 

分 类 号：J209[艺术—美术]