“身体恐怖”电影中的女性主义:以朱利亚·迪库诺电影为例

Feminism in“Body Horror”Films:A Case Study of Julia Ducournau's Films

朱利亚·迪库诺的“身体恐怖”电影为探讨当代电影中的女性主义身体观提供了重要的研究文本。过往对“身体恐怖”电影的研究主要集中于女性主义精神分析领域,而女性主义精神分析的局限性在于将“身体恐怖”电影中的女性身体作为男性的对立面,无法从根本上突破父权社会的性别意识形态。因此本文在女性主义精神分析的基础上,运用德勒兹和加塔利的“生成”理论对迪库诺电影中的女性主义观点进行补充,对迪库诺的电影《钛》和《生吃》中的女性主义身体观做进一步的界定,完善对朱利亚·迪库诺电影文本的分析和阐释。

Julia Ducournau's“body horror”films provide important research material for exploring contemporary feminist perspectives on the body in cinema.Previous studies on“body horror”films mainly focus on the field of feminist psychoanalysis,but the limitation of it lies in that the female body in“body horror”films is regarded as the opposite of the male body,which cannot fundamentally break through the gender ideology of the patriarchal society.On the basis of feminist psychoanalysis,this paper uses the“becoming”theory of Deleuze and Guattari to complement the feminist views in Ducournau's films,and further defines the feminist body views in Ducournau's films Titane and Raw and then adds to the analysis and interpretation of Julia Ducournau's film texts.