“女性电影”的“变”与“不变”--从《相爱相亲》到《爱情神话》

Changing and Unchanging of Feminist Movies——From Love Education to B for Busy

近年来,由一批女性导演创作的“女性电影”在中国电影市场熠熠生辉,获得了商业与口碑的双丰收。文章以一直以来坚持女性主义书写的“50后”女导演张艾嘉的《相爱相亲》和“90后”女导演邵艺辉的《爱情神话》为比较文本,探析这些由女性执导、以塑造女性形象为主题的“女性电影”,在文本建构、主旨表达及艺术创作上的总体趋向,解码“女性电影”的“变”与“不变”、传承与突破的演绎特点。

In recent years,Feminist Movies created by a group of female directors shine brightly in Chinese film market,gaining both commercial and public praise.Taking B for Busy,a film directed by"Post-50s"female director Zhang Aijia who has always insisted on feminist writing and Love Education,a film directed by Shao Yihui,a"Post-90s"female director,as comparative texts,this article explored the overall trend of text construction,thematic expression and artistic creation of these Feminist Movies directed by females and with the theme of shaping female images,and decoded the deductive characteristics of"changing"and"unchanging",inheritance and breakthroughs of Feminist Movies.