逃逸,或又一次陷落——解读徐静蕾的改编作品《一个陌生女人的来信》

Escaping,or Falling Again——Analyzing the Letter from an Unknown Woman,A Film Produced by Jinglei Xu

劳拉·穆尔维在《视觉快感和叙事电影》一文中借用精神分析理论研究了电影叙事中所隐藏的父权文化性别制度,并提出了"男性/积极的/凝视者、女性/消极的/被凝视者"的性别二元对立式,以及以此为基础所产生的视觉快感。而在徐静蕾所改编的茨威格同名小说《一个陌生女人的来信》的影片中,这种性别位置被颠覆了——女性成了凝视的发出者,而男性则成为被凝视的对象。然而,在这种颠覆性的性别叙事中,我们看到的不是一次有意识的反击与抗争,而只是再一次对女性性别体验的遮蔽与歪曲。在此,女性的性别话语再一次成为男权文化的拥护者与建构者。

In Visual Pleasure and Narrative Cinema , Laura Mulvey applies psychoanalytic theory to the study of the sexual order in patriarchal culture that is concealed in the film narratives. She unveils the binary opposition of sexuality in the film, male/active/to gaze and female/passive/to be gazed, and thor- oughly explores the visual pleasure built on that. Nevertheless, in the Letter from an Unknown Woman which is adapted from a short novel of the same name written by Stefan Zweig, the gender hierarchy is seemingly overthrown. The female is the subject of looking and the male become the object of being looked. Unfortunately, this ＂subversive＂ narrative of gender does not act as the conscious challenge and resistance, but keep the reality of the female lives ignored and concealed continuously. Hence, the gender discourse of a woman plays an active role in the construction and consolidation of the pallocentric culture, instead.