国产新主流电影中女性形象的建构策略研究  

Research on the construction strategy of female image in new mainstream films in China

作　　者：于苗[1] 苏畅 Yu Miao;Su Chang(School of Film and Television Arts,Liaoning Normal University,Dalian 116081,China)

机构地区：[1]辽宁师范大学影视艺术学院,辽宁大连116081

出　　处：《辽宁师范大学学报（社会科学版）》2024年第3期132-137,共6页Journal of Liaoning Normal University(Social Science Edition)

基　　金：教育部人文社会科学青年项目“基于新时代文化建设的儿童有声读物创作研究”(18YJC760142);辽宁省教育厅面上项目“短视频平台东北区域工业遗产文化形象构建研究”(JYTMS20231070)。

摘　　要：自新中国成立以来,主流国产电影中女性形象的建构大体呈现出一个由平面化的“工具人”到立体化的“存在者”的转变,新主流电影中主旋律题材、商业化呈现、艺术化表达的“三驾马车”又赋予了女性形象构建与两性关系表达的新意涵。从走出“凝视与臆想境况”“忽视与失语困境”以及“花木兰式境遇”三方面,分析《万里归途》《夺冠》《我和我的父辈》等近年来新主流影视作品中女性形象的塑造和书写,探寻新主流电影中女性形象在实践路径上的提升与建构策略上的优化。让女性角色在未来的新主流电影中更多地成为主流意识形态的承担者,以独立平等的姿态为中国新主流电影开辟出一条更为健康的多元发展之路。Since the establishment of the People’s Republic of China,the construction of female images in mainstream domestic films have been generally undergone a transformation from a flat“tool person”to a three-dimensional“existence”.The“three carriages”of the main theme,commercial presentation,and artistic expression in new mainstream films have given new meanings to the construction of female images and the expression of gender relations.Analyze the shaping and writing of female images in recent mainstream film and television works such as Home Coming,Leap,My Country My Parents from three aspects:stepping out of the“gaze and imagination situation”,“neglect and aphasia dilemma”,and“Mulan style situation”,exploring the improvement of female images in practical paths and optimization of construction strategies in new mainstream films.Let female characters become more bearers of mainstream ideology in future new mainstream films,and open up a healthier and diversified development path for Chinese new mainstream films with an independent and equal attitude.

关 键 词：新主流电影 女性形象 女性主体意识 女性主义电影理论 

分 类 号：J218.7[艺术—美术]