“疯女人”和“男傻子”:中国电影中的微观性别政治

“Crazy Woman” and “Fool Man”: The Microcosm of Gender Politics in Chinese Film

中国电影中的疯和傻人物呈现出显著的性别偏向,即疯子大多是女性,傻子大多是男性。女性的疯癫是被建构的,作为一种悲剧体验,疯癫源于作者的社会批判;作为一种性别体验,电影显示了疯癫与女性气质的内在关联。男性的傻是原发性的,但是其先在的智性使得男性在电影中成为道德化身或智者,具有一种强烈的内在超越性。“疯女人”的悲剧和“男傻子”的内在超越形成对比,彰显了不平等的性别体验,更反映出潜在而隐蔽的微观性别政治的作用。

Madmen and fools in Chinese film present signidicant gender bias, that is, lunatics are mostly female, while fools are mostly male. Feminine craziness is constructed. As a tragic experience, madness originates from the author’s social criticism and is a metaphor for the times. As a kind of gender experience, the film shows the inner correlation between madness and femininity. Stupidity of male is primary, but its preexisting wisdom makes men become moral incarnations or wise men, reflecting a strong inner transcendence. The comparison between “crazy woman” and “male fool” reveals the unequal experience. It also reflects the role of latent and hidden micro gender politics.