| 性别、身体、位置：《私角落》的身体影像与影像身体; Gender,Body,Position:The Body Image and Image Body of Corner | |
| 罗祎英 ; Luo Yiying ; 徐学 ; Xu Xue | |
| 2016-09 | |
| 关键词 | 性别 gender 触感 touching 位置 position 窥视 peeping 纪录片 documentary |
| 英文摘要 | 罗祎英，2009年毕业于南京师范大学文学院影视系电影学专业，获文学硕士学位。现任职于广东省佛山市艺术创作院，助理研究员，从事台港电影及影视理论与批评研究。徐学，厦门大学台湾研究院教授，主要致力于现当代文学、海外华文文学、台湾文学研究。; 【中文摘要】纪录片创作中记录者所处的“位置”将对记录影像的最终呈现产生重要影响，并直接引导纪录片美学的形成与变异。《私角落》在讨论女性在记录/诉说自我的私密情愫与身份不满过程中，一方面警惕于被观看时可能出现的“主题逃逸”现象，另一方面又以对身体与情欲的大胆呈现彰显女性/女同群体之间对抗式的认同。同时，拍摄者作为记录者和女性的/女同的双重身份对该片的介入成功地令《私角落》具备成为一个历史标本和公共议题的能力，从而发展出有异于其他类型纪录片的特殊美学与影像政治。 【Abstract】The “position” of the documentary film makers will have an important influence on the final presentation of the film, and it directly causes the formation and variation of the documentary aesthetics. This paper focused on “comer's”，which was made by a Taiwan documentary filmmaker named Zhou Meiling, and to discuss an unsatisfied process that females are recording/speaking some private feelings of themselves. During the processing, in the one hand, they have to alarm to so-called possible “theme escape” phenomenon when their images are viewed, in the other hand, these scenes starkly demonstrated an Antagonism identification between the females/lesbian groups though the body and the passion boldly displaying. At the same time, the filmmaker who has a double role as a recorder and a female/lesbian successfully involve in the film itself enable eligible the “comer's” to be a historical specimen and public issue, thus developing a special aesthetic and image politic which different with the other types of documentary films. |
| 语种 | 中文 |
| 出版者 | 厦门大学《妇女/性别研究》编辑部 |
| 内容类型 | 其他 |
| 源URL | [http://dspace.xmu.edu.cn/handle/2288/127599]  |
| 专题 | 凤凰百家论丛 |
| 推荐引用方式 GB/T 7714 | 罗祎英,Luo Yiying,徐学,等. 性别、身体、位置：《私角落》的身体影像与影像身体, Gender,Body,Position:The Body Image and Image Body of Corner. 2016-09-01. |
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