女性奇观、银幕经济与女性凝视——劳拉·穆尔维《后影像》中的观看机制探究  

T Women as Spectacle,Screen Economics and Female Gaze:A Study of the Spectatorship in Laura Mulvey’s Afterimages

作　　者：林伟 Lin Wei

机构地区：[1]广州中医药大学外国语学院,广东广州510006

出　　处：《南京师范大学文学院学报》2023年第3期103-110,共8页Journal of School of Chinese Language and Culture Nanjing Normal University

摘　　要：劳拉·穆尔维的新著《后影像》追溯了她自《视觉快感》以来的理论发展和转向,并就学术界对其早期理论的质疑作出了回应。《后影像》将银幕女性奇观置于对影像本体论的探讨中,从中发掘出一种深长的媒介自指意味,指出了幻象生产、消费文化与女性银幕形象之间的共生关系,以及女性奇观在电影工业中所起到的经济学驱动。她同时指出,数码媒介所带来的新的观影方式带来一种“延宕”的美学体验,从而打破了观影过程中男性主动/女性被动的性别权力结构,使女性化凝视的生产成为可能。Afterimages:on Cinema,Women and Changing Times,the latest work of Laura Mul⁃vey,traces her theoretical development since Visual Pleasure and Narrative Cinema,and answers to the challenges and questions around her seminal essay.Afterimages discusses women and spectacles in light of the cinematic medium and uncovers a strong medium self-reflexity in female spectacles on screen,and points out the symbiotic relation between women as spectacles,consumerism and the production of illusions.She also draws attention to the economic drive of women as spectacles behind film industry and sees in the new spectatorship brought about by digital media a“delayed cinema”aesthetic experience,which overthrows the gender structure in conventional spectatorship,thus mak⁃ing it possible for the emergence of a female gaze.

关 键 词：《后影像》 女性奇观 延宕美学 恋物式观看 女性凝视 

分 类 号：J09[艺术—艺术理论]