早期电影女星的身体表现和身体消费——从《船家女》谈起

The Presentation and Consumption of Film Actresses’Bodys in Early Chinese Movies:Taking The Boatman’s Daughter as an Example

电影《船家女》中阿玲的身体体现了公共性、私密性和现代性之间既对立又联系的复杂关系。这种关系普遍存在于中国早期电影女星身体的表现和消费上。早期电影女星的身体因为各种形式的宣传和曝光,成为政治、资本、媒介、性别观念等话语权利角逐的场域。她们的身体同时成为艺术品、商品和文化事件的能指,既提供了视觉的奇观,又成为文化消费的对象,既传达了个人幻想,又成为表达公共焦虑、大众话语的场所,形成了一个可供繁复解读的文本空间。

In The Boatman’s Daughter,A’lin’s body shows the conflicted yet connected relationship between publicness,privacy,and modernity,which is commonplace in the presentation and consumption of film actresses’bodys in early Chinese movies.In the limelight,they turned into a battlefield of politics,capitals,media,and gender concepts.They also signified artworks,commodities,and cultural events,providing visual spectacles,the object for cultural consumption,a vehicle for personal fantasies,public anxiety,and public discourse,providing an intriguing text for interpretation.