Perfume commercial,as a form of cultural text and practice,is relatively special in contemporary commercial advertising:The commodity qualities of perfume dictate that perfume advertisements must cater to the sexual f...Perfume commercial,as a form of cultural text and practice,is relatively special in contemporary commercial advertising:The commodity qualities of perfume dictate that perfume advertisements must cater to the sexual fantasies of the audience,and therefore inevitably characterize the mainstream,dominant gender norms.At the same time,perfume commercial,as a unique marketing communication method,also unconsciously influences people’s values through sensory stimulation and emotional rendering.This article explores the connection between perfume and its commercials,sex,and gender,and discusses the generation of meaning in perfume commercials as texts and deconstructs the gender myth implied from the perspectives of representation and myth analysis,ultimately revealing that behind the gender myth of perfume commercials is but a false manifestation of the ideal self-image of the western white bourgeois heterosexuality.展开更多
传统好莱坞电影习惯将中国女性塑造为天真娇媚的尤物或温驯蒙昧的牺牲品,总在等待白人英雄的启蒙救赎。作为叙事结构中被抑制的客体和被讲述的对象,银幕上充满异国风情的中国女性迎合着西方观众的集体窥私欲望,并满足了他们深入蛮邦征...传统好莱坞电影习惯将中国女性塑造为天真娇媚的尤物或温驯蒙昧的牺牲品,总在等待白人英雄的启蒙救赎。作为叙事结构中被抑制的客体和被讲述的对象,银幕上充满异国风情的中国女性迎合着西方观众的集体窥私欲望,并满足了他们深入蛮邦征服救赎的幻想,帮助他们建构了民族和国家的自我形象。这套叙事模版在2001年拍摄的改编自赛珍珠小说《群芳亭》(1946,Pavilion of Women)的影片《庭院里的女人》(Pavilion of Women)里出现了有趣的转变。在这部由华裔影人主导、全球发行的影片中,来自中国"他者"的声音和西方文明拯救中国的话语纠缠冲突,刺激了大洋两岸不同位置的观影者。本文拟通过探讨影片的改编营销策略和文本叙事,来解析全球化语境里的性别民族寓言与白人拯救神话之间的冲突和妥协,以及西方文化中心主义话语在新世纪之初的微妙调整。展开更多
文摘Perfume commercial,as a form of cultural text and practice,is relatively special in contemporary commercial advertising:The commodity qualities of perfume dictate that perfume advertisements must cater to the sexual fantasies of the audience,and therefore inevitably characterize the mainstream,dominant gender norms.At the same time,perfume commercial,as a unique marketing communication method,also unconsciously influences people’s values through sensory stimulation and emotional rendering.This article explores the connection between perfume and its commercials,sex,and gender,and discusses the generation of meaning in perfume commercials as texts and deconstructs the gender myth implied from the perspectives of representation and myth analysis,ultimately revealing that behind the gender myth of perfume commercials is but a false manifestation of the ideal self-image of the western white bourgeois heterosexuality.
文摘传统好莱坞电影习惯将中国女性塑造为天真娇媚的尤物或温驯蒙昧的牺牲品,总在等待白人英雄的启蒙救赎。作为叙事结构中被抑制的客体和被讲述的对象,银幕上充满异国风情的中国女性迎合着西方观众的集体窥私欲望,并满足了他们深入蛮邦征服救赎的幻想,帮助他们建构了民族和国家的自我形象。这套叙事模版在2001年拍摄的改编自赛珍珠小说《群芳亭》(1946,Pavilion of Women)的影片《庭院里的女人》(Pavilion of Women)里出现了有趣的转变。在这部由华裔影人主导、全球发行的影片中,来自中国"他者"的声音和西方文明拯救中国的话语纠缠冲突,刺激了大洋两岸不同位置的观影者。本文拟通过探讨影片的改编营销策略和文本叙事,来解析全球化语境里的性别民族寓言与白人拯救神话之间的冲突和妥协,以及西方文化中心主义话语在新世纪之初的微妙调整。
