女性形象及其文化形态

【作者】 邵瑜莲；

【导师】 张宏森；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2002， 硕士

【摘要】 从第一部大型室内剧《渴望》诞生以来，九十年代女性形象的塑造开始成为提升电视剧收视率的亮点和引人关注、思考的社会热点。此后，女性问题越来越成为电视剧从业人员关注的焦点之一，出现了一大批以女性形象为主人公的电视剧。本文欲借鉴女性主义理论，尝试通过对九十年代电视剧女性热的冷透视，来解读中国电视剧，挖掘女性热背后的父权文化观念，及其所带来的电视剧文化的弊端，探求男权主义与主流意识形态、商业策略内在的关联、纠结，及其充满矛盾互动的同谋关系。在深层挖掘的基础上，进一步展开对九十年代电视剧文化的批判性分析，以期电视剧艺术在新的世纪会有新的突破与发展。 本文共分两部分。 第一部分主要论述九十年代电视剧女性形象的演变流程和叙事形态，并探究女性形象的演变动因及其局限。 九十年代电视剧女性叙事可以用下面的演变流程来粗略概括：从九十年代初围困“家”中的传统女性，到1993年前后改革风潮下走出“家”门，为自己寻找出路的“娜拉”，再到1995年前后既无“家”的拖累又无“情”的牵绊，充满创造活力，然而却深烙着男人需求与理想印记的新型女性形象，最后是九十年代末女性视角下女性本真的初步还原。九十年代电视剧的女性形象与女性意识的演变轨迹并不是绝对与年代的变迁构成同步发展关系的。实际上，本文对演变轨迹的探寻与归纳也充分注意到了九十年代电视剧女性现象的丰富性和复杂性，而女性形象与女性意识演变的这种反复性与曲折性也再次证明了女性意识觉醒与解放的艰难与复杂。 如果从叙事角度来研究，九十年代女性形象可以划分为两种叙事形态：围困式与突围式。围困主要有两种象征意象：“家”和“情感”。根据突围的性质与程度，突围式可以相应分为社会突围、情感突围、文化突围三种方式。九十年代电视剧女性形象演变背后纠结着复杂的动因：首先，西方女权主义运动及女性主义理论的介入；其次，女性问题在中国现代化进程中的重新提出；再次，女性意识日趋成熟和自觉的电视剧女性从业人员开始出现。尽管电视剧对女性的塑造越来越趋于表现女性作为一个人的独立意识，让她们从传统的概念界定中突围出来，但是这种突围叙事带有理想的虚拟性，因而在很大程度上遮蔽了女性自身解放的真实状况。 第二部分主要论述九十年代电视剧女性叙事的策略和反策略，由此探析女性意 识的匾乏与成长的艰难。 在文化重建的现代性变革还刚刚启始；传统父权观念依然或隐或显地占据主导 意识形态的当下中国，无论是电视剧的制作策略还是发行策略，都不可避免地要 受到男权中心意识的制约。男性中心主义在电视剧创作中的体现主要有两种存在’ 途径：在制作上与主流意识形态及民间意识形态相合谋，在传播上又会纳入商业 策略的运作轨道中。而这种合谋与并轨最后又会落实、体现于女性形象的塑造上。 女性要么成为男性主人公成功的土壤与阶梯，要么就是一种道德观念的符号，要 么就是一种时代潮流的毫无性别特征的空洞的体现者。在发行上，为了达到较高 的收视率；电视剧采取了种种商业包装，使女性形象再次沦为商业利益的工具c 在对九十年代电视剧进行剖析时，我们同时不可忽略女性意识的逐渐自觉、清 醒，以及由此展开的对自我话语权力的争夺、对主导叙事策略的制衡与反拨c李 少红等人执导、制作的《大明宫词》为九十年代女性叙事带来了一线曙光。电视 剧改编是女性话语反抗和消解男权叙事策略中的途径和方法之一，但在现实的男 权文化语境中，这种依托男性文本的女性制衡策略的有效性和有限性同样明显。 比如电视剧《雷雨》对同名话剧的改编，同一故事的不同文本既显示出极大的差 异，又在对女性意识的极力张扬中潜伏着难以抹除的男权话语的痕迹c1 对女性问题的模糊认识无疑是九十年代电视剧存在的许多问题中重要的问题 之一，但其中最隐蔽因而也是最艰难的还是意识形态问题。电视剧女性形象的塑 造如何不再是商业的筹码，如何摆脱男权意识形态的困扰，如何真正传播女性自 我的真实声音和真实图像？电视剧女性形象的塑造问题显然超出了电视剧本身的 含义。电视剧女性形象的塑造以深刻的文化制约功能规范着社会秩序的建设，影 响着现代女性自身的发展，影响着女性自身的解放。女性的解放反映着人类历史 文化发展的进程，从这个意义上说，电视剧的女性形象叙事承担着远远大于它自 身的现实责任和历史使命，作为女性解放这场“最漫长的革命”中的重要的建设 性因素，电视剧的女性形象叙事任重而道远。更多还原

【Abstract】 From the first great chamber teleplay Kewang, the creation of the female characters in 1990s has raised the bright point of the audience rating and the social hotspot of attracting attention and consideration. After that, female problems have become one of the focuses of the teleplay staff, and the teleplays in which females play leading roles become more and more. This thesis will use feminism to study Chinese teleplays, trying to calmly observe the female hot and to dig out the male chauvinism behind the female hot and the drawbacks which it brings to TV culture. Meanwhile, this thesis will study the complicated conspiratorial relationship between the male chauvinism and the dominant ideology and business tactics. Further more , this thesis will critically analyze the 1990s’ teleplay culture based on the deep perspective.There are two parts in this thesis.The first part mainly discusses the successional variation of the female characters in the 1990s’ teleplays and the narration models. Besides this , it will study the causes of the change of the female characters and its limits.The successional variation of the female narration in the 1990s’ teleplays can be stated that from the traditional female enclosed in home at the beginning of the 1990s to new Nuolas who come out of home and look for their way around 1993, to the beautiful and wise female who has no the block of home and feeling but ironed by the male’s request and image around 1995 /to the female initial restoration in the sight of feminism at the end of the 1990s. The course of the female character and female consciousness in the 1990s’ teleplays is not in company with the change of the years. In fact, this text has been also aware of the abundance and complexity of the female character in the 1990s’ teleplays. The repeat and complication of the development of the female character and female consciousness has testified the difficulty and complexity of the awareness and liberation of female consciousness.If studying on narration, the female characters in 1990s’ teleplays can be divided into two narrative models, enclosure and breakthrough. There are two images in enclosure, home and feeling and three types in breakthrough, society, feeling and culture. The causes that the female characters has changed in 1990s teleplays are that, first, theintroduction of the west feminism theory, second, the new female questions in the process of the Chinese modernism, third, the emergence of the female staff on teleplay. Although the creation on female has more and more expressed the independence, letting them come out of home and feeling and look for their career and love, the breakthrough narration has somewhat ideal fiction, and it has covered the reality of the female liberation in large degree.The second part mainly discusses the tactics and anti-tactics of the female narration in 1990s’ teleplays. From the tactics and anti-tactics it will analyze the lack of the female conscious and the difficulty of its growth.At present, the modern development of culture rebuilding is just on the start, and the traditional father idea is still the dominant ideology, so no matter that the make and issue tactics have inevitably influenced by the male chauvinism. There are two ways which male chauvinism exists. It conspires with the dominant and popular ideology in make and plots together the business in issue. All of that will inflect in the female character. The female will become the earth and stepladder of male or the symbol of the morals or the empty express of the non-sex character. In order to get the high audience rating in issue, the teleplay adopts a lot of business packing, and the female is the most efficient in packing. However, it is strange that the male actor will dominate the teleplay’s price.In analyzing the 1990s’ teleplays, we shouldn’t neglect the female consciousness has gradually become aware and clear and so that the feminist has begun to fight for the speaking power and to strive for the equilibrium to the dominant narrative tact更多还原