死地荒墟上的希望之光——萨米拉电影的“性别政治隐喻”研究

Light of Hope on the Land of the Dead——Study of “Metaphor in Gender Politics” in Samira Makhmalbaf's Films

不同于主流伊朗电影的童真视角,被誉为"沙漠玫瑰"的萨米拉·马赫马尔巴夫的电影对于性别问题的关怀和性别程式的尖锐批判更是超越了表层的社会体制而深入到了文化批评的层面。其系列作品(《苹果》、《下午五点》、《黑板》)的性别政治的喻指在于:女性身体成为被暴力规训的客体;教育体制造成了不平等权力关系的再生产;族群之中的女性个体则处于边缘群体的最边缘位置。性别政治所体现出的压迫与被压迫、支配与被支配都是为性别本身的社会属性所决定,性别政治的终结和超越存在于"人"的全面解放,唯此,才能化解存在于性别政治之中的权力关系,进而彻底打破隐藏在性别政治之下的权力场域。

Samira Makhmalbaf, dubbed as ＂desert rose＂, is a world famous film director. Different from the tone of innocence and simplicity in mainstream Iranian films, Samira Makhmalbaf＇s concern over gender problems and sharp criticism to rountinized gender formula in her films transcend the superficial social regime and reach deep into the layer of cultural criticism. Metaphors of gender politics in her series of work such as The Apple, At Five in the Afternoon, Blackboards are quite significant. In her films, female bodies become the objects of brutal discipline, traditional education system reproduces inequality in power relations, and women as individuals in an ethnic group are pushed to the remotest edge. The message conveyed through her films indicate that the oppressor and oppressed and the dominator and dominated as represented in gender politics are determined by the social attributes endowed in different genders and the termination and transcendence of gender politics can be achieved through the overall emancipation of ＂human beings＂. This is the only way to dissolve the power relations in gender politics and to completely break into pieces the power field hidden underneath gender politics.