摘要
导演王全安在其同乡前辈导演张艺谋创造了“秋菊”这一女性形象十年之后,又创造了跟“秋菊”极其相像的另一个女性形象——关二妹。本文在认可这二者相似的造型及功用之后,意在概括其相异的外在表征,重在呈现其不同的深层内涵,从而揭示出张艺谋与王全安在相似的文本中所书写的相近女性形象下所隐含的全然相反甚至是存在巨大历史差异的女性观念,并推而及于整个导演艺术观念,以之试图触探电影在当今全球化语境下所应提倡的人文态度和生态观念。
Ten years after Zhang YimaoWang Quanan's predecessor and hometown fellow, made the image of 'Qiu Ju' , director Wang Quanan weaved the life of female character in his film by the name of Guan Ermei, very similar to 'Qiu Ju' . This essay intends to break through the externally seem-to-be similarities or differences so as to capture the deep connotations differently devised. Therefore, it tries to show that the two seem-to-be-similar female characters represent two very different feminist concepts that set them far apart into different histories. It might even produce some impacts upon the art of directing in terms of humane and life attitudes that ought to be celebrated in the context of globalization.
出处
《北京电影学院学报》
CSSCI
北大核心
2005年第3期22-29,105-106,共10页
Journal of Beijing Film Academy
