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在“新生活运动”话语的影响下,20世纪30年代中期的流行电影热衷以现代女性走入公共领域为情节主题。这些影片通过塑造理想女性典范来探讨现代女性的价值,促成“新女性”情节剧电影亚类型的流行。作为“新生活运动”这一国家话语的直接产物,《国风》(1935)试图塑造克制情欲、遵守秩序的模范女性。具有悖论性的是,电影文本中不同意识形态话语的竞争使其试图塑造的新女性典范无法拥有确定涵义;不仅如此,情节剧类型的通俗性和言情特征,以及女明星本人的女性气质表演,也让影片对理想女性角色的价值判断变得暧昧。因此,尽管国家话语对女性形象的管控空前严格,但意识形态的断裂性、情节剧类型的异质性和女明星的表演则松动影片试图建构的女性典范话语。
Under the influence of the “New Life Movement” discourse, popular films in the mid-1930s were keen to focus the modern women on the public sphere. These films explore the value of modern women by shaping ideal female models and contribute to the popularity of the sub-genre of “new women” melodramas. As a direct result of the national discourse of “New Life Movement”, “Guofeng” (1935) tries to create exemplary women who have the ability to exercise restraint in their passions and obey the order. Paradoxically, the competition of different ideological discourses in the cinematic texts makes it impossible for definitive meanings to the new female model that it is trying to shape; moreover, the popularity and romance characteristics of the type of melodrama and the femininity of the actress , But also make the film’s value of the ideal female role to become ambiguous. Therefore, despite the ever-stricter regulation of female images by state discourse, the fragmentation of ideology, the heterogeneity of melodramatic genres and the performance of actress loose the female model discourse that the film tries to construct.