关锦鹏电影现象研究-电影学专业论文.docxVIP

摘要关锦鹏是香港电影界擅长于描写女性形象的“女性主义导演”。他的特殊之处在于他是 摘要 关锦鹏是香港电影界擅长于描写女性形象的“女性主义导演”。他的特殊之处在于他是 从时空观念和女性心理个性体验切入，将易变的人情与炎凉的世态通过性别和角色的倒错与 反串，把女性心理和情感的延伸曲折地表现出来。他的女性电影既呼应了当时世界电影理论 中的女权主义批评的兴起，也充分体现了导演自身的一f生格和成长历程。 本文通过对关锦鹏和以往导演在对男、女性角色进行塑造时的不同．着重探讨关锦鹏电 影的两个方面：一是分别从处理题材上以私人视角切入、观影模式上借助对传统电影语言的 打破达到的女性从“被看”一“观看”的转变、采用间离手法完成的叙事手段的变革以及女 性空间的打破等四个方面进行论述，将对关锦鹏的分析从文本深入到影像，从而勾勒出他的 女性主义风格：二是从叙事方法、叙事空闻、叙事时间和东方性思维等方面着手，讨论导演 对丁中国母体文化的追慕，以期做一次崭新的美学上的深究。 关锦鹏清醒地意识到所谓“香港人”的特性，看刮了由=]-主流叙事对香港本士文化渗透 而显现出的深重危机。而女性主义在消解主流意识形态、霸权话语上和表达“香港本士意识” 所需要的边缘批评具有本质相似性。因此，关锦鹏也借这种边缘的理论形态去阐释他的“香 港本土”情怀。 随着香港本身政治心态上的日趋平和，导演的影像风格也逐步从初期的焦灼转向了后期 的平和。关锦鹏终于能够以一种平等、宽容的心态去看待现实存在的差异．以“人”性的情 感去保持自我的一片犬空。 关键词：关锦鹏、女性主义、香港本土意识、古典美学、 ABSTRACTStanley ABSTRACT Stanley KWAN is said to be a feminism director specializing in describing females in the moviedom of Hong Kong．He did it in an extraordinary way to outline the changeable human nature through a reversed sexual role with the space—time idea and female personal mental experience， SO as to reveal the complex feelings of the female．Not only have his female films fully embodied the character and the growing course of the director himself， but alSO echoed the feminism criticism in the film theories at that time． This paper has put its emphasis on discussing two aspects of Stanley KWAN’S films by comparing the differences of Guan with other directors in molding male and female roles．Firstly， analysis of Guan has been deepened from text into image t which contains four elements：to dispose the subject with the private point of view， tO surmount the traditional movie language，to transform the narrative means and tO break through the female space．Secondly，Stanley KWAN worships the Chinese traditional aesthetics．The paper has a brand—new aesthetic study over it form his method， space，time and his oriental thinking in his narration． Because feminism has surprising resemblances in clearing up principle ideologyt hegemony words ofthe feminism criticism and the‘‘homeland consciousness