摘要
在视觉文化语境中,昆仑影业公司的三位女明星白杨、黄宗英和上官云珠在银幕上的身体呈现体现了20世纪40代左翼文化与女性明星之间的辩证关系:左翼文化对女性明星进行意识形态化的改写,使其符合政治表达的需要,在延续30年代左翼文化对女性进行塑造的基础上,具有了40年代的时代特色和历史承接感;女性明星的时代特征也影响着左翼文化的编码策略的调整和改变,这一反作用也成为身处复杂政治格局中的女明星自主选择演艺道路的契机。
In the 1940s, the relationship between left-wing films and female stars in the context of visual culture was shown by female stars in Kunlun Film Company such as Bai Yang, Huang Zongying,Shang Guan Yunzhu and their body presence in the films . On the base of left-wing culture tradition in 1930s, the female stars were rewritten through ideology discourse in order to conform to political expression and the characteristics of the 1940s. In contrast, the left-wing＇s discourse construction is also affected by the characteristics of female stars, and this effect offered the female stars to make their career choice in the complex political circumstances.
出处
《河北大学学报（哲学社会科学版）》
CSSCI
北大核心
2011年第1期101-106,共6页
Journal of Hebei University(Philosophy and Social Science)
关键词
昆仑影业公司
女明星
视觉政治
Kunlun Film Company
female stars
visual politics
