凝视的性别属性——女性主义电影理论之女性观看方式研究被引量：12

Gendered Gaze: Feminist Film Criticism and Female Spectatorship

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摘要 20世纪70年代,随着电影机器理论的发展,凝视问题受到电影学者的关注。论文首先回顾劳拉.穆尔维的突破性研究,她以精神分析方法为工具,基于对经典好莱坞电影的分析提出"男性凝视"的理论。但穆尔维未能充分讨论女性观众的观看快感和女性的主动观看,针对这些问题,女性主义者不断开展后续研究进行回应。她们从女性电影、女性人物、类型电影、男性作为情欲对象和种族差异等立场出发,深化女性的观看快感理论,反思观影方式的多元性,这一过程表现出女性主义学术的自省性和复杂性。 Gaze has become a key word of film studies since 1970s when cinematic apparatus theory developed. This paper starts with Laura Mulvey＇s argument of＂male gaze＂ proposed in her groundbreaking research based on her psychoanalytical study of classical Hol- lywood cinema. Mulvey＇s ignorance of female pleasure and female spectatorship has been recognized in feminist responses. Recent feminist research has taken into consideration women＇s cinema, female characters, genre films of male as sexual objects, and racial dif- ferences to discuss the multiple ways in which women see films. This research has become a window for self-reflection and complexity of feminist scholarship.

作者冯芃芃

机构地区中山大学外语教学中心

出处《妇女研究论丛》 CSSCI 北大核心 2013年第3期84-89,95,共7页 Journal of Chinese Women＇s Studies

关键词凝视观看方式精神分析女性主义电影理论劳拉·穆尔维 gaze, spectatorship, psychoanalysis, feminist film theory, Laura Mulvey

分类号 J905 [艺术—电影电视艺术]

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