打破刻板:电影《刀马旦》中女性形象分析

Analysis on the Female Images in Film of Peking Opera Blues by Breaking the Stereotype

一直以来,独特的女性形象在徐克的电影中都是一道不可忽视的风景。徐克从不把自己电影中的女性往传统妇德典范的标准来塑造,这也是徐克区别于其他男性导演之处。其导演的《刀马旦》作为一部"三个女人共演的一出戏"在当年充斥着"阳刚美学"氛围的香港影坛并不被看好。而最终在影片呈现出的三个女性形象,却是颠覆了电影银幕上女性只是作为"花瓶"存在的刻板印象。

All along, unique female image is a landscape that cannot be ignored in Tsui Hark＇s films. The most striking difference between Tsui Hark and other male directors is that females in his films are not shaped according to the traditional female virtue model and their good quality is not temperate, kind, courteous, restrained and magnanimous, the female virtue norm accepted by the traditional society. His film Peking Opera Blues, ＂as a film for three women＂ , was not well understood by the Hong Kong film circle in the that year full of ＂masculine aes- thetics＂. Finally these three female images showing in the film completely subverted the stereotype that women could not appear in the movie screen just as a ＂vase＂.