早期中国武侠电影中的侠女形象分析
发布时间：2019-01-18 09:03
【摘要】：我国武侠电影中的女侠形象深受大家喜爱,然而女侠形象的发展经历了漫长的发展时期。据史料记载,最早的女侠形象出现于汉代《吴越春秋》里的一位剑侠-越处女,然而第一次提到“女侠”则是在南宋洪迈的《侠妇人》里,首次将“侠”与“女”结合在一起。女侠的形象萌芽于先秦时代,形成于唐朝的唐传奇,繁荣于清朝,并随着20世纪20年代中国武侠电影的发展的逐渐成熟,得到重构和发展。相继出现众多行侠仗义、侠骨柔情的经典女侠形象。传统的女侠形象不涉及情感问题,只以真功夫示人,而当代武侠电影中,加大了情感的成分,并利用先进的特技效果来表现“功夫”和对感情进行有意渲染。同时,她们都还具有一些共同的特点,如：轻财重义、武艺高强、坚强勇敢、报仇孝父等。这些巾帼形象为中国的武侠电影增添了一道亮丽的风景。 武侠爱好研究者里昂·汉特将中国武侠电影里的女侠形容为“致命的中国娃娃”,即女侠形象对中国电影既致命又不堪一击。中国的武侠电影始终没有摆脱男尊女卑的思想,叙事始终以男性为中心。这一观点值得我们重新评判,中国早期武侠电影中的女侠形象具有现代性萌芽,并对女侠形象的发展具有启蒙意义,我们不能否认早期银幕女侠形象在父权社会中的抗争意识,并应该肯定她对银幕女侠形象发展起到了的积极意义。 本分总分四章进行阐述,第一章主要说明女侠形象的历史渊源,从源头找到女侠形象的伊始状态,为后文的演变做铺垫；第二章主要介绍了中国早期武侠电影女侠形象的生存语境,并说明在一定的历史时期影响下,产生众多对社会造成影响的银幕女侠是有一定必然性的；第二章另一重要部分讲述了银幕女侠形象的价值建构,这些女侠形象在银幕中“横行”并对社会产生积极影响；第三章详细介绍了女侠形象及其生存的银幕空间,这样的银幕空间有其特性,并延续至今,第四章说明了银幕女侠形象的性别建构,这样的性别模糊,对“女权”研究提供依据,并指出这一现象的社会弊端。
[Abstract]:The image of female chivalrous in Chinese martial arts movies is popular, however, the development of female chivalrous image has gone through a long period of development. According to historical records, the earliest female chivalrous figure appeared in the Han Dynasty "Wu Yue Spring and Autumn" a swordsman-Yue virgin, but the first mention of "woman" is in the Southern Song Hongmai "Xia woman", the first time "Xia" and "woman" together. The image of female chivalrous sprout in the pre-Qin period, formed in the Tang Dynasty legend, prosperity in the Qing Dynasty, and with the 20th century, the development of Chinese martial arts film gradually mature, has been reconstructed and developed. One after another, many chivalrous, chivalrous and tenderness of the classic image of the woman. The traditional female chivalrous image does not involve the emotion question, only shows the person with the real kung fu, but in the contemporary martial arts movie, has increased the emotion ingredient, and uses the advanced stunt effect to express "the kung fu" and to carry on the intentional rendering to the emotion. At the same time, they also have some common characteristics, such as: light, strong martial arts, strong courage, revenge and filial piety. These images of women for the Chinese martial arts film added a beautiful scenery. Lyon Hanter, a martial arts hobby researcher, described the woman in the Chinese martial arts film as a "deadly Chinese doll", that is, the image of the woman is fatal and vulnerable to the Chinese film. Chinese martial arts movies have never been free of the idea of male superiority and the narration has always centered on men. This point of view is worthy of our re-evaluation. The image of female chivalrous in the early Chinese martial arts films has the germination of modernity and has enlightening significance to the development of the image of female chivalrous. We can not deny the struggle consciousness of the image of the early screen woman in the patriarchal society. And it should be affirmed that she has played a positive role in the image development of screen woman. This chapter is divided into four chapters, the first chapter mainly explains the historical origin of the image of female chivalrous, from the source to find the initial state of the image of the woman, for the evolution of the following text to do the groundwork; The second chapter mainly introduces the survival context of the female chivalrous image in the early Chinese martial arts film, and explains that under the influence of a certain historical period, there are certain inevitability to produce a large number of the influence to the society. In the second chapter, another important part is about the value construction of the images of the screen women, which "roam" in the screen and have a positive impact on the society. The third chapter introduces the female chivalrous image and its survival screen space in detail, such screen space has its own characteristics, and continues to this day, the fourth chapter explains the gender construction of the screen female chivalrous image, such gender ambiguity, To provide the basis for the study of women's rights, and point out the social drawbacks of this phenomenon.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
[Abstract]:The image of female chivalrous in Chinese martial arts movies is popular, however, the development of female chivalrous image has gone through a long period of development. According to historical records, the earliest female chivalrous figure appeared in the Han Dynasty "Wu Yue Spring and Autumn" a swordsman-Yue virgin, but the first mention of "woman" is in the Southern Song Hongmai "Xia woman", the first time "Xia" and "woman" together. The image of female chivalrous sprout in the pre-Qin period, formed in the Tang Dynasty legend, prosperity in the Qing Dynasty, and with the 20th century, the development of Chinese martial arts film gradually mature, has been reconstructed and developed. One after another, many chivalrous, chivalrous and tenderness of the classic image of the woman. The traditional female chivalrous image does not involve the emotion question, only shows the person with the real kung fu, but in the contemporary martial arts movie, has increased the emotion ingredient, and uses the advanced stunt effect to express "the kung fu" and to carry on the intentional rendering to the emotion. At the same time, they also have some common characteristics, such as: light, strong martial arts, strong courage, revenge and filial piety. These images of women for the Chinese martial arts film added a beautiful scenery. Lyon Hanter, a martial arts hobby researcher, described the woman in the Chinese martial arts film as a "deadly Chinese doll", that is, the image of the woman is fatal and vulnerable to the Chinese film. Chinese martial arts movies have never been free of the idea of male superiority and the narration has always centered on men. This point of view is worthy of our re-evaluation. The image of female chivalrous in the early Chinese martial arts films has the germination of modernity and has enlightening significance to the development of the image of female chivalrous. We can not deny the struggle consciousness of the image of the early screen woman in the patriarchal society. And it should be affirmed that she has played a positive role in the image development of screen woman. This chapter is divided into four chapters, the first chapter mainly explains the historical origin of the image of female chivalrous, from the source to find the initial state of the image of the woman, for the evolution of the following text to do the groundwork; The second chapter mainly introduces the survival context of the female chivalrous image in the early Chinese martial arts film, and explains that under the influence of a certain historical period, there are certain inevitability to produce a large number of the influence to the society. In the second chapter, another important part is about the value construction of the images of the screen women, which "roam" in the screen and have a positive impact on the society. The third chapter introduces the female chivalrous image and its survival screen space in detail, such screen space has its own characteristics, and continues to this day, the fourth chapter explains the gender construction of the screen female chivalrous image, such gender ambiguity, To provide the basis for the study of women's rights, and point out the social drawbacks of this phenomenon.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
【相似文献】
相关期刊论文 前10条
1 陈墨;;中国武侠电影:概述与提示[J];当代电影;2006年03期
2 张鹏;陈霞;;论武侠电影中的伦理编码[J];电影评介;2007年02期
3 赵洪义;;重视情感力量 追求美好人性——新世纪武侠电影发展道路之探索[J];电影文学;2008年03期
4 冯果;赵晓娟;;论中国武侠电影的主要发展轨迹[J];湖南大众传媒职业技术学院学报;2009年02期
5 李淼;;中国武侠电影之我见[J];电影评介;2010年09期
6 王玉坤;;20世纪80年代内地武侠电影的独特形态[J];电影文学;2010年11期
7 石征宇;;武侠电影:商品还是艺术品[J];电影文学;2010年19期
8 肖显惠;;流行与循环:新世纪武侠电影十年[J];电影文学;2011年11期
9 王蕾;王U，
本文编号：2410540
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2410540.html
