机械妖姬的驯化——《大都会》在日本的接受与日本女性机器人的书写转向  

The Taming of the Robot Maria:The Reception of Metropolis in Japan And the Narrative Shift of Japanese Female Robots

作　　者：江晖 Jiang Hui

机构地区：[1]中山大学外国语学院

出　　处：《上海文化》2024年第6期81-87,共7页Shanghai Culture

摘　　要：1929年初德国电影《大都会》的公映预热了日本第一次机器人热潮,也激活了本土机器人性别叙事。但由于对影片的关注重点发生转移,影片经历了解读偏向继而促生书写转向,机械妖姬玛利亚所携带的双重危险——“机器威胁”和“女性威胁”被选择性地过滤为可塑的、先进的机器特征和魅惑的女性性别特征,凝集于“改良版”的日本女性机器人形象中。大众媒介和文学界将机器人的技术未来属性视为打造理想女性乃至理想社会的有力工具,对机械文明的崇拜与男性欲望的投射彰显其中。The premiere of the German film Metropolis in early 1929 sparked Japan's first wave of robot fever and activated indigenous robot gender narratives.However,due to a shift in focus on the film,the bias in interpretations resulted in a subsequent shift in narrative.The dual dangers embodied by the female robot Maria"machine threat"and"female threat"were selectively fltered into malleable,advanced machine features and seductive female gender traits,ultimately coalescing into the"enhanced version"of the Japanese female robot image.The mass media and literature circles regard the futuristic attributes of robots as powerful tools for creating not only ideal women but also ideal societies.This reflects a worship ofmechanical civilization intertwined with male desire.

关 键 词：大都会 日本 女性机器人 性别叙事 机械文明 

分 类 号：J905[艺术—电影电视艺术]