【摘要】 电影对残疾人的刻画表征的是文化领域的残疾人观。权利意识提升和社会包容性发展推动着电影中残疾叙事从“他者凝视”向“主体共生”转变。通过定性内容分析法对9部影片的镜头语言、场景类别等进行分析，提炼出三类叙事范式的特征：苦难奇观范式通过身体奇观化与单向度叙事强化残疾人的“被凝视”地位；励志传奇范式将残疾人塑造为“时代英雄”却陷入了道德完美预设与批判弱化困境；常态化呈现范式则通过反奇观美学与身份多维性重构残疾人的主体性以迈向残健共生的社会格局。残疾叙事的嬗变离不开残障模式的演进和后现代理论的反思，也呼应了我国残疾人文化事业从“形式普惠”到“实质赋权”的制度演进，是“平等、融合、共享”残疾人观的美学实践。更多还原

【Abstract】 The portrayal of persons with disabilities in films reflects the cultural perspective on disability. The rise of awareness about rights and the inclusive social development have driven the transformation of disability narratives in films from other-gazing to subject-symbiosis. Through the qualitative content analysis method, this paper analyzes the camera languages and scene categories of nine films, and extracts the characteristics of three narrative paradigms: The suffering spectacle paradigm reinforces the viewed status of persons with disabilities through the spectacle of their bodies and one-dimensional narratives; the inspirational legend paradigm portrays persons with disabilities as heroes of the era but falls into the predicament of predefined moral perfectionism and weakened criticism; the normalized presentation paradigm reconstructs the subjectivity of persons with disabilities through anti-spectacle aesthetics and multi-dimensional identities, moving towards a society of symbiosis between persons with and without disabilities. The evolution of disability narratives is inseparable from the development of disability models and the reflection of postmodern theories, and echoes the institutional evolution of China’s cause of disability culture from “formal universalism” to “substantive empowerment”, serving as an aesthetic practice of the view of persons with disabilities featuring “equality, inclusion and sharing”.更多还原