银幕中心的他者:“革命样板戏电影”中的女性形象

The Tragedy on the Altar:Female Images in “Model Peking Opera Movies”

本文采用女性主义批评视角,糅合符号学、精神分析学、叙事学的若干观点,对20世纪中国“文革”时期的“革命样板戏电影”进行了重新解读。通过分析银幕上所显影的一个特殊时代的女性形象,试图探讨在阶级与性别相重叠的革命话语中,女性主体如何被边缘化、他者化,并最终成为政治符码和性别神话的角色。

This paper re-interprets the “Model Peking Opera movies” during the “Cultural Revolution” from the perspectives of feminism,semiotics,psychoanalysis,and narratology.Through the analysis of a special female image on the screen,it tries to explore how,in the doubling revolutionary discourse of class and gender,the female subject was marginalized,alienated,and sacrificed as empty political codes and gender myths by male domination.