| 摘要: |
| 陈凯歌在其作品中展现了丰富多变的女性形象,描绘出自20世纪80年代以来的女性主体发展脉络。陈凯歌20世纪80年代的电影展示了争取自由的女性形象,呼应的是"五四"传统。20 世纪90年代随着中国女性的崛起,女性主义批判让寄生在传统价值观中的父权土崩瓦解。但旧文化下的性别秩序内核——父权又迅速与民族主义、资本主义结合,在新的环境下将女性询唤为为其服务的“主体”,消解了女性一度争取的自由空间,带来了女性发展的新困境。 |
| 关键词: 陈凯歌电影 女性 五四 父权 |
| DOI：10.13216/j.cnki.upcjess.2019.06.0013 |
| 分类号:J904 |
| 基金项目: |
|
| The Echo of the May 4th Spirit and the Interpellated "Subject": A Dilemma for Women in Chen Kaige 's Films |
|
SUN Zuxin
|
|
(Department of Art, Jiangsu Federation of Literary and Art Circles, Nanjing, Jiangsu 260000, China)
|
| Abstract: |
| In his films, Chen Kaige presents a variety of female images and highlights women 's development since the 1980s. In his films of the 1980s, Chen presents the images of women struggling for freedom, echoing the May 4th spirit of enlightenment. With the rising up of Chinese women in the 1990s, the patriarchy, which rooted in traditional values fell apart under the severe criticism by feminism. However, the patriarchy, as the core of gender order in the old culture, collaborates with nationalism and capitalism in the new period, the interpellates women as the the "subject" to serve it, destroying the liberal space for which women had strived for decades, leading to a new dilemma to women 's development. . |
| Key words: Chen Kaige 's films female the May 4th patriarchy |
