失位、失能与失意:李沧东电影男性形象的另类构建与投射  

Position losing, Incapacitation and Frustration:The Alternative Construction and Projection of Male Image in Lee-Chang dong's Films

作　　者：杨璐 YANG Lu(Heilongjiang University,School of History Culture and Tourism,Harbin 150000,China)

机构地区：[1]黑龙江大学历史文化旅游学院,黑龙江哈尔滨150000

出　　处：《海南开放大学学报》2023年第2期86-92,共7页Journal of Hainan Open University

摘　　要：相较于李沧东电影中女性形象和女性主义所引起的广泛关注,男性形象却往往被忽视或误解。李沧东电影中的男性形象常具有不同程度的“缺失”,如远走他乡或失去工作的男性,在家庭关系中缺位或失职的男性,以及身陷贫困或心理病态的男性,分别对应男性在社会中的“失位”,家庭生活中的“失能”,以及自我认知上的“失意”。李沧东之所以执着于构建“缺失”的男性形象,意在阐释韩国社会转型所带来的深刻影响,并对人性进行再探讨。Compared with the female images and feminism in Li Changdong's films,the male images in his films are often ignored or misunderstood.The male images in Lee Chang-dong's films are often"missing"to varying degrees,such as those who have moved away or lost their jobs,those who are absent or derelict in domestic relations,and those who are trapped in poverty or mental illness.They correspond to men's"Position losing"in social transformation,"incapacitation"in family,and"frustration"in self-cognition.Lee Chang-dong's obsession with building a"missing"male image is meant to illustrate the profound impact of Republic of Korea's social transformation,and discussing human nature again.

关 键 词：李沧东 电影 男性形象 社会转型 人性 

分 类 号：J905[艺术—电影电视艺术]