萧红传记文学与传记电影的跨媒介视差比照

Comparison of Cross Media Parallax between Xiao Hong’s Biographical Literature and Film Biography

传记文学与传记电影中的萧红形象分别为被抛弃的怨妇、痴迷写作的女作家、充满同情心的人道主义者。本文以平石淑子的《萧红传》、许鞍华的《黄金时代》、霍建起的《萧红》为对象,在跨媒介视角下考察萧红形象的多维性与不同隐含作者的叙事视差,探究偏狭视差的性别立场和文化心理来源。文章从萧红“文名”与“艳名”的辩证关系入手,纠正父权话语对女作家两性关系的本质化想象,观照萧红理想中的男性气质与其抵抗父权压迫的话语裂痕,深究其日本之行的自我超克意义及主体意识觉醒的动因,希冀还原萧红不同成长阶段的内面情感变化。

The images of Xiao Hong in cross media texts are presented as an abandoned resentful woman,a women writer obsessed with writing and a compassionate humanist.Taking Yoshiko Hiraishi’s The Biography of Xiao Hong,Xu Anhua’s Golden Age and Huo Jianqi’s Xiao Hong as the research objects,this paper investigates the multidimensional image of Xiao Hong from the perspective of cross media and the narrative parallax of different implied authors,and then focuses on the gender position and the cultural origin of parallax.Starting from the dialectical relationship between Xiao Hong’s literary name and gorgeous name,this paper corrects the essentialist imagination about the definition of female writers’gender relations in previous studies,observes Xiao Hong’s ideal masculinity and the representation of her resistant patriarchal discourse,and deeply studies the self transcendence and gender awamess of Xiao Hong during her trip to Japan,hoping to restore Xiao Hong’s inner emotional changes at different growth stages.