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題名 | 論《大紅燈籠高高掛》的父權空間=Patriarchal Space in Raise The Red Lantern |
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作者 | 陳慷玲; | 書刊名 | 淡江中文學報 |
卷期 | 35 2016.12[民105.12] |
頁次 | 頁73-96 |
分類號 | 823.6 |
關鍵詞 | 大紅燈籠高高掛; 妻妾成群; 父權; 空間; Raise The Red Lantern; Groups of the Wives; Patriarchy; Space; |
語文 | 中文(Chinese) |
中文摘要 | 張藝謀導演的電影《大紅燈籠高高掛》,其劇本改編自蘇童的小說《妻妾成群》。此篇小說主要是描述陳家四房太太之間的明爭暗鬥。電影在小說的基礎上,特別強調了空間的要素。導演以山西喬家大院做為拍攝場景,透過這個結構封閉的建築群體所形成的壓迫感,營造出女性在此父權空間下的無奈與悲哀。本論文從「空間」的角度,論述電影《大紅燈籠高高掛》的父權統治,內容主要有下列五部分:第一,「從小說到電影的空間變化」,因為表現媒材的不同,電影比小說呈現出更為立體的空間感。第二,「父權統治下的陳家宅院」,此部份先描述電影所呈現之空間結構,再分析其中的男性霸權。第三,「妻妾鬥爭的場所:院落、飯廳與床幃」,依附於父權空間中的眾妻妾,能夠鬥爭的場所極為有限,只能在各自的院落、飯廳及床幃爭取些微的權力,但這足以讓女性激烈互鬥,陳老爺在制衡女性的同時、亦更加鞏固了自己的父權。第四,「頌蓮對父權空間的挑戰」,陳家妻妾們互鬥之目的是爭寵,但四太太頌蓮的心態卻非如此,她勇於挑戰父權,想用自己的力量握有空間自主權,但最後以發瘋之結局收場,抗爭失敗。第五,「從運鏡方式論陳宅空間的壓迫感」,此部分主要透過空鏡頭、中遠景、框式構圖……等電影語言,分析陳宅高壓滯悶的父權空間。 |
英文摘要 | The movie, Raise The Red Lantern, was directed by Chang Yi-Mo; its script was adapted from Su Tong's novel, Groups of the Wives, which describes the overt and covert struggles among the four wives in Chen family. Based on the novel, the movie specially emphasized space. The director chose to shoot this film in the Courtyard of Family Qiao, using this closed structure group to form a sense of oppression, which represents the helplessness and sadness of women under the polygamy system. This thesis discusses the patriarchal domination in Raise The Red Lantern from the aspect of space; there are five parts as follows: Part one, the space change from the novel to the movie. Compared to the novel, the movie was able to present a more three-dimensional space due to the difference of the medium. Part two, the house with a courtyard of Chen Family under patriarchal domination. In this part, the spatial structure presented in the movie will be discussed first, then the male hegemony will be analyzed. Part three, the location where the struggles happened among the wives of Chen family: yards, dining rooms, and bedrooms. The wives, who could only attach themselves in the patriarchal space, fought severely for a very limited power in their own small yards, dining rooms and bedrooms. Thus, through distributing and balancing the powers among these women, Master Chen was able to further strengthen his patriarchal power. Part four, Songlian's challenge toward the patriarchal space. The purpose of struggling among the wives was to strive for favor, but that was not what Songlian, the fourth wife, wanted. She wanted to hold spatial autonomy on her own, therefore she bravely challenged the patriarchal power. Sadly she failed and went mad in the end. Part five, discussing the sense of oppression through camera movements: the smothering patriarchal space in Chen family is analyzed through cinematography such as scenery shot, long shot, framing and so on. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。