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1、Critical Perspectives评论角度,The definition of themeTypical thematic concernsAuteur theoryStructuralism,Feminism and gender studies Psychoanalysis and the spectatorPolitics and ideology,Lecture5 Critical Perspectives,objectives,Get to know the theories of critical perspectivesLearn how to analyze one f
2、ilm with theories Learn to appreciate different films,Typical Thematic Concerns常见主题,Auteur:t:Theory作者论,Structuralism结构主义理论,Feminism and Gender Studies女性主义和性别研究,Psychoanalysis and the Spectatorspek,teit心理分析理论和观众,Politics and Ideology政治和意识形态,Theme主题,The theme of a film is its main point,it is what the
3、 scriptwriter and director want to tell us.主题是一部电影的主要观点，是编剧和导演想要传达给我们的思想。Theme is the controlling idea of the film which takes the form of a generalized comment about life-a special understanding of human experience.主题是电影的中心思想，是对于生活的一种概括性观点，反映了人类经历的独出心裁的理解。It unifies the film and makes it intellectu
4、ally and emotionally coherent.主题把电影统一起来，让电影在思想上和情绪上保持和谐一致。,Typical Thematic Concerns常见主题,Broad Human Concerns广泛的人类问题Life Philosophies人生哲学Religious and Ethical Concerns宗教和伦理问题Historical Issues历史问题Nations and National Characteristics国家和国民特征Social/Cultural/Technological Changes社会、文化、技术变革Social Problems
5、社会问题,Broad Human Concerns广泛的人类问题,Themes commonly reflect the most basic and universal human concerns such as love,the nature of humanity,ethical concerns,the meaning of human existence,and the possibility/impossibility of a divine force guiding human affairs.主题反映的常常是人类最基本、最具有共性的问题，例如爱情、人性的本质、伦理问题、人类
6、生存的意义和引导人类发展的神力是否存在等等。,Life Philosophies人生哲学,More commonly,films will present a protagonist whose lifestyle is,at the same time,a life philosophy;and,through the relative success or failure of that character,we assess the validity(合理性)of that philosophy.Conversely,we may observe the validity of the
7、opposing life philosophy by watching the fortunes of the antagonist.通常，电影中的主人公的生活方式就代表一种人生哲学；通过表现这个角色的成功和失败，电影让观众对这种人生哲学的合理性进行思考。发过来，通过观察反面角色的命运，我们也可以观察这种人生哲学的对立面是否有合理性。,Religious and Ethical Concerns宗教和伦理问题,The West is a fundamentally Christian culture,and the power of the Christian faith to determ
8、ine the shape of ones spirituality and ethical values remains strong.Some films focus on the spiritual aspects of religion(such as the desire to transcend超越 the everyday world or to know God)while others focus on the ethical values that derive from religion(such as the notions of sin and of evil).西方
9、世界根本上是一种基督教文化，其力量能够左右人们的精神和伦理观念。有些电影着眼于宗教对心灵的影响（如超越世俗生活、认识上帝的愿望），有些则探讨了宗教衍生出的伦理价值观念（例如罪与恶的概念）。,Historical Issues历史问题,Themes commonly emerge as responses to specific historical periods or events,especially if they are foundational and/or controversial and/or have a continuing relevance today.主题也常常是对某
10、个特定历史时期或者历史事件的反映，尤其是一些重要的、有争议的或影响至今的事件，也可能几方面兼而有之。（在西方，罗马帝国是一个特别常见的主题，因为罗马帝国让西方成为一个一致的政治和地理实体。罗马帝国的灭亡、埃及艳后和角斗士）,Nations and National Characteristics国家和国民特征,Films are produced by men and women from certain nations for consumption by target audiences who also belong to certain national groups.For this
11、 reason,they often respond on a thematic level to national concerns.They may do so by presenting characters who embody体现 certain aspect of their“national character”,or by exploring the consequences of national values and attitudes.电影的制作者们来自某个国家，他们制作电影也是为了给这个国家的观众观看。因此，电影的主题常常是某个国家所关心的问题。电影可以让其中的角色表现
12、出某些“国家特征”，或者探索国家的价值观念及态度可能带来的结果。,Social/Cultural/Technological Changes社会、文化、技术变革,Cinema is a living art form,and as such it tends to respond rapidly to social,cultural,and technological changes.Films concerned with“change”(of whatever kind)provide the audience with a space in which to visualize and
13、adapt to its consequences.电影是一种活的艺术，常常对社会、文化和技术变革做出迅速的反应。谈论“变革”（无论何种变革）的电影创造了一个空间，让观众可以将这种变革的结果形象化，并且更好地适应它。骇客帝国中的“超真实”；美国丽人探讨的媒体对人类感情的影响。,Social Problems社会问题,Films sometimes provide a forum论坛 in which certain pressing严峻的 social problems can be presented.In part it is a“consciousness-raising”activit
14、y that brings social problems to light.In part,it is a way for the audience to deal imaginatively with the problems-to consider possible causes,to imagine possible consequences,and to hypothesize假设 possible solutions.有时，电影会提供一个平台，以讨论一些严峻的社会问题。一方面这可以引起人们对这个问题的注意，提高认识；另一方面，这可以让观众在想象的层面探讨这个问题思考可能的原因、问题
15、的后果，以及一些可能的解决方法。美国丽人的主题之一是不健全的家庭；教父则探讨了犯罪的问题。,Auteur:t:Theory作者论,The auteur,then,was a person who was able to stamp his own identity on(在上打上印记)a film despite the commercial restraints of the studio system.所谓“作者”，就是在商业化的电影工厂制度的种种局限下仍然可以在电影中烙上自己独特烙印的人。The auteur was contrasted to the metteur en scene(
16、法语，匠人),the director for hire for whom directing films was a job(or at most a craft)rather than an art form.与作者相反的就是“匠人”，指的是为别人工作，把导演工作作为一种职业（或作为一种技巧），而不是作为一种艺术创作。It allows the critic to gather together separate works into definite groupings that can be analyzed on the basis of their distinctive styl
17、istic and thematic features,and it helps to draw attention to the work of some of the most creative figures working in the film industry.批评家们可以借助作者论分析电影的独特风格和主题，并依此把不同的电影作品分类。同时，作者论还可以让我们更加关注电影界最才华横溢的那些人物的作品。,Structuralism结构主义理论,Structuralism is a method of analyzing phenomena that is characterized
18、by contrasting the elemental structures of the phenomenon in a system of binary二元的 oppositions.Or,to put it slightly differently,structuralist approaches try to look beyond the surface details of a phenomenon in an attempt to define the deeper organizing structures-structures that take the form of o
19、ppositions.Such as“black/white”,“good/evil”,“civilization/barbarism”,etc.结构主义是一种分析现象的手段，其方法是在二元对立系统中分析这个现象的基本结构。或者，换句话说，结构主义者看的不是现象的表面，而是试图分析深层次的结构这些结构采取对立的形式。如“黑与白”、“善与恶”、“文明与野蛮”等。,Feminism and Gender Studies女性主义和性别研究,Feminism is a broad political and intellectual movement that seeks to analyze(soc
20、ial,political,or economic)inequalities between men and women and to take action against them.女性主义是一个广泛的政治和文化运动，分析男女之间的不平等（社会、政治和经济的不平等）现象，并且采取行动来反抗这种不平等。it has focused on a wide variety of topics:the cinematic canon典范,the representation of woman as characters,the concept of the“male gaze”,and the id
21、ea of a“female cinema”.女性主义的电影设计很多领域：电影“典范”、对女性角色的表现、“男性注视”以及“女性电影”。,Canon is the body of cinematic works that are considered“high-prestige地位，权威”and therefore worthy of study in educational institutions.典范指的是那些“地位高”、值得教学机构研究的电影。The romance character will be female,but her role is either as a“prize”o
22、r reward for the protagonist,or to provide a“love interest”.It is rare that she will be given an active role.Alternatively,the female character will often be cast in a variety of conventional roles such as the victim,the girlfriend,the“angelic mother”,the“castrating严厉地对待 mother”,the whore妓女，or the f
23、emmefem fatale蛇蝎美人.The first three are all basically passive roles,and the latter three are essentially negative stereotypes.浪漫角色是女性，但是，她的功能要么是主人公所获得的“奖品”或回报，要么是给电影增加一些“浪漫色彩”。女性角色很少是积极的角色。此外，女性角色还有一系列的定型，比如受害者、女朋友、“天使般的母亲”、“严厉的母亲”、妓女或者是蛇蝎美人。前三个是比较被动的角色，后三个则是负面的脸谱。,Part of the cinematic experience is
24、 the relationship between looking and being looked at,and it was primarily the male who is the looker and the woman(as a sexualized spectacle)who is the object of his“gaze”.The female spectator is therefore placed in a difficult position:She can either identify with the male(and thus deny or repress
25、 her femaleness),or she can identify with the female(and thus situate herself as the passive object of male attention).电影体验的一部分是看与被看的关系，男性通常是“观看者”，而女性（作为情欲化的目标）通常是“被看者”。因此，女性观众就处于一个两难的境地：她要么认同男性角色（这就压抑和否认了自己的女性身份），或者她可以认同女性角色（这样她就成了男性注意的被动对象）。,Can there be a“female cinema”and,if so,what form might i
26、t take?Romantic films very often reinforce certain stereotypical assumptions about the relationship between men and women:the romantic comedy ends in a happy marriage and thus suggests that marriage is the primary goal of it all;one of the basic premises前提 of the film romance is that a womans love f
27、or a man is the peak experience of her life.可不可以有“女性电影”？如果有，它应该采取什么形式？爱情片常常会加强社会对男女关系的定型看法：爱情喜剧片通常以快乐的婚姻结尾，暗示婚姻是男女关系的最终目标；爱情片还有一个隐含逻辑：在女人的生命中，对男人的爱是最重要的经历。,The one-sidedness of the feminist approach has been balanced by recent developments in the field of gender studies.The concept of“gender”here re
28、fers to sexual identity in relation to society or culture(sexual identity as a social and cultural construction with no absolute basis in nature);in this sense,the terms“masculine”/“feminine”do not refer to biological characteristics but to assumptions about men and women that we have been condition
29、ed制约 to make by our cultures and societies.近年来性别研究的发展平衡了女性主义的一面之词。“性别”这个概念指的是社会和文化中的性别认同（也就是说性别认同是纯粹的社会和文化概念，和生理无关）；从这个角度来讲，“男性、女性”指的不是生理特征，而是在文化和社会的作用下，我们对男人和女人的既定观点。,Psychoanalysis and the Spectator心理分析理论和观众,Approaches attempt to explain the inner workings of the characters minds,looking in partic
30、ular for signs of desires and memories that have been repressed and forced into the unconscious.通过判断角色是否有一些欲望和记忆受到压抑从而进入了潜意识对角色的内部心理的分析。Psychoanalysis has been used to study cinema is through psychoanalytic theories of the spectator.还有一种用心理分析来研究电影的方法是关于观众的心理分析理论。,Politics and Ideology政治和意识形态,Ideology is the expression of the imaginary relation of individuals to the real conditions of their existence.意识形态表达了人们想象中自我和所生存的真实环境之间的关系。,
