穹若下的普绪客——解读《钢的琴》

On The Piano in a Factory

为渲染男性的第一性,男权制构建了性/别政治,把女性列为第二性;为标记第二性,性/别政治设定了穹若,来囚禁女性的角色、气质和地位。电影《钢的琴》中的小菊和淑娴就遭遇了这种囚禁:角色为异类"野菊";气质响应了第二性的"感召";地位渗透着伪势群像。穹若下的她们,既不能越池,也无法规避,而只能携带第二性卑污,沦为幸与不幸的普绪客,去支撑男性的第一性和主体性。

Patriarchy build sexual politics to render male as the First Sex and female, the Second Sex. In order to distinguish the Second Sex, sexual politics build chora to accommodate the role, temperament and status of female. In the film The Piano in a Factory, Xiao Ju and Shu Xian encountered this kind of captivity. They acted as wild chrysanthemum, whose temperament was marked as the Second Sex. Although they got some fights as a new generation, they were still women. In chora, they became the ideal objects to support Chen Guilin＇ s First Sex： They can＇ t move away or stay away from the chora, since they are just the lucky or unlucky Pcyche.