社会主义女性主义:当代中国女性电影批评的新发展  

Socialist Feminism:The New Development of Contemporary Chinese Feminist Film Criticism

作　　者：伍俊 程波 WU Jun;CHENG Bo(School of Journalism and Communication,Shanghai Jianqiao University,Shanghai,201306,China;Shanghai Vancouver Film School,Shanghai University,Shanghai,200072,China)

机构地区：[1]上海建桥学院新闻传播学院,上海201306 [2]上海大学上海温哥华电影学院,上海200072

出　　处：《上海大学学报（社会科学版）》2024年第5期52-63,共12页Journal of Shanghai University(Social Sciences Edition)

基　　金：上海建桥学院博士启动基金立项课题(KYJF23BBYQ202316)。

摘　　要：社会主义女性主义电影批评是近年来中国女性电影批评中出现的新潮,它反对欧美女性主义理论话语霸权,强调对中国社会主义妇女解放运动进行重估,以确认一种不同于西方模式的本土社会主义女性主义,由此开展对社会主义女性主义文化实践即社会主义时期女导演电影的重读,并将其定义为社会主义女性主义电影。与社会主义女性主义电影批评相似的女性主义本土化批评最初源于文学批评,很快也进入电影批评领域,二者建立本土女性主义概念的共同目标使它们有汇合的趋势,共同构成当下中国女性电影批评一个新的发展方向。Socialist feminist film criticism has become a new trend in China’s film criticism regarding women’s cinema in recent years.By countering the hegemony of Western feminist theories and reevaluating China’s socialist women’s emancipation movement,it confirms a local“socialist feminism”which differs from Western concepts.Based on that,critics are starting to revisit socialist feminist cultural practices and focus on movies by women directors of the socialist era,trying to redefine them as“socialist feminist films.”Similar to socialist feminist criticism,“feminism indigenization”originated from literature criticism and soon made its way into the field of film criticism.By sharing the same goal of constructing a localized concept of feminism,“socialist feminist”film criticism and“feminism indigenization”criticism are showing a tendency to merge with each other,leading in a new direction for China’s feminist film criticism.

关 键 词：女性主义 女性电影 女性主义本土化 社会主义女性主义 电影批评 

分 类 号：J909[艺术—电影电视艺术]