April 30, 2008
hongcome2008
在天空部落發表於03:14:29 |
政大廣電所
鼓勵此網誌：0
雍志中、李庭瑜 政大廣電所
論文摘要
摘要
有別於過往針對李安華語電影中父親形象、傳統儒道等主題之研究，本文援引莫薇提出之「視覺快感」與「凝視」論述，以及愉虐活動的權力觀點， 將李安的電影文本：《喜宴》、《臥虎藏龍》、《色│戒》視為「身體權力顛覆三部曲」，電影中的女性角色藉由性愛場面中體位翻轉的動作，一舉破除了傳統上由男性主宰與凝視的權力結構，並且掌握電影的敘事主導權。藉由此一翻身動作，李安顛覆了女性身體的再現以及兩性權力關係，展示了新的「女性身體圖像」展演之可能。
關鍵字：視覺快感，性愛體位，愉虐，權力，李安
Abstract:
This paper is not intended to discuss the most popular topic on Ang Lee’s movies: the father-son relationship. According to Mulvey’s(1975) discourse on “visual pleasure” and “gaze,” and the discourse on power and powerless via Sadomasochism view, this article is to point out that by turning their bodies over the top, the heroines in Ang Lee’s three movies: The Wedding Banquet, Crouching Tiger, Hidden Dragon, and Lust, Caution, overturn the narrative verisimilitude that male characters control the power of gaze and the progress of narrative. This body-turning-over movement creates a new dynamic representation of women and bedroom politics.
Keywords: Visual Pleasure; Sex Positions; Sadomasochism; Power; Ang Lee
