从客体到主体：女性在电影产业中的角色分析

• 作者： 王思捷 ¹ 普书贞 ²
• 作者单位：
  1.  中国农业大学生物学院

  2.  中国农业大学人文与发展学院
• 通讯作者： 王思捷 
• 提交时间：2024-10-25

摘要: 在电影史上的很长一段时间，女性作为镜头下被赏玩的客体镶嵌在以男性为中心的电影叙事边缘。她们或以无私奉献的母性扮演着近乎“神”的角色，或以男性凝视下的性感身体成为近乎“妖”的色情符号。随着女性主义的兴起，电影媒介开始体现出女性多元化、主体化的表达诉求。作为表达的主体，女性电影从业者在为电影界带来女性声音的同时，也面临着她们的职业与人生困境：女演员遭遇中年危机、行业潜规则，女性导演、编剧、制片人以及幕后工作人员被充满偏见的雇佣机制拒绝于电影工业之外。与此同时，女性观众的消费主体地位日益提升，但其真正需求未能得到电影制作方的充分重视，女性观众自身的女性主义意识也有待进一步觉醒。

Abstract: For a long time in the history of film, women have been treated as objects enjoyed by men under camera shots, and marginalized in the male-centered film industry. They either play the role of "god" with selfless maternal dedication, or become erotic symbols of "demons" with sexy bodies under male gaze. With the rise of feminism, the film medium began to reflect the diversified and subjective expression demands of women. As the main body of expression, female film practitioners are bringing female voices to the film industry, meanwhile also facing their professional and life dilemmas: actresses encounter midlife crises and hidden rules of the industry, and female directors, screenwriters, producers, and backroom staff are rejected by the film industry due to biased hiring mechanisms. At the same time, the subject status in consumption of female audiences is increasingly enhanced, but their real needs have not been fully valued by film producers, and the feminist consciousness of female audiences themselves needs to be further awakened.

• 来自： 王思捷
• 分类： 新闻传播学 >> 传播学 艺术学 >> 电影学
• 稿件状态： 已投稿期刊
• 引用： PSSXiv:202411.00227 (或此版本 PSSXiv:202411.00227V1)
  DOI:10.12451/202411.00227
  CSTR:32012.36.PSSXiv.202411.00227
• 推荐引用方式： 王思捷,普书贞.从客体到主体：女性在电影产业中的角色分析.哲学社会科学预印本平台:https://zsyyb.cn/abs/202411.00227.[PSSXiv:202411.00227V1] (点此复制)