西方女性主义电影研究的历史转向及其后现代主义思考  

The Historical Turn of Western Feminist Film Studies andSome Postmodernist Reflections

作　　者：李晓红[1] 王亚茜 LI Xiaohong;WANG Yaqian(School of Film,Xiamen University,Xiamen 361005,Fujian)

机构地区：[1]厦门大学电影学院,福建厦门361005

出　　处：《厦门大学学报（哲学社会科学版）》2024年第5期160-172,共13页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

摘　　要：女性主义电影理论受第二波女性主义运动影响产生于20世纪70年代,致力于将女性主义理论与电影理论、文化研究相结合,解构电影中的女性与性别关系。90年代初期女性主义电影研究迎来了从理论向历史的转变,女性主义电影史的大部分开创性工作集中在电影制作的早期,即电影的默片时代,女性作为导演、编剧和制片人占据了掌控创意的重要位置。然而,有学者发现70年代的女性主义电影学者并没有在默片行业中发现这些杰出的女性,而是将她们的缺席视为性别歧视的产物。于是,“女性缺席”的理论立场与“女性在场”的经验证据形成女性主义电影研究的冲突局面。在这种背景下,女性电影史研究者建议以实证研究为基础,积极探索历史过去的生产潜力与可能性,以此来构建女性电影人的历史文本的在场。Emerging in the 197Os and shaped by the second-wave feminist movement,feminist film theory seeks to deconstruct the relationship between women and gender in cinema by integrating feminist theories with film and cultural studies.By the early 1990s,feminist film studies began to transition from theoretical frameworks to historical analysis,with much of the early scholarship focusing on the silent film eraa period when women held significant roles as directors,writers,and producers.However,some scholars have pointed out that feminist film theorists of the 1970s often overlooked these influential women,interpreting their absence as indicative of systemic sexism.This discrepancy between the theoretical assertion of women's"absence"and the empirical evidence of their"presence"has led to tensions within feminist film studies.In response,researchers in feminist film history advocate for the reconstruction of women's contributions in historical narratives by actively investigating the productive potential and possibilities of the past through empirical research.

关 键 词：默片时代女性电影人 历史转向 女性主义电影史 后现代主义 

分 类 号：I053.5[文学—文学理论]