摘要
女明星是文化工业明星制营销的商品。以法国学者露西·伊瑞格蕾的女性主义理论来检视香港性感明星徐子珊在影、视、歌三方面明星形象的设计、冲突、调整的演变过程,尝试从女性主义角度切入中国正在兴起的明星研究。通过详细的文本分析和具体的经验主义数据之间的比对发现,徐子珊的"明星个性"经历了从"假小子"到"性感尤物"的演变,戏里戏外又充满着矛盾和分裂。虽然,最终确立的视觉性感的"明星个性"渐获成功,但在文化意义上女性的主体性却悄然沉沦。
The female stars are the marketing products of the culture industry. This article draws on the French Feminism theories of Luce Irigaray to explore the designing, conflicts and adjustments of a Hong Kong female star Kate Tsui＇s star personality in the film, television and Cantopop career respectively, trying to make stardom studies from the perspectives of feminism. By comparing the detailed textual analysis and the empirical data, the article revealed that her star personality changed from ＂a tomboy＂ to ＂a sexpot＂, but never without splits and contradictories. Her marketing strategies do succeed in terms of a sexy image, while her female subjectivity in a cultural sense has fallen down at the same time
出处
《苏州教育学院学报》
2012年第5期24-29,共6页
Journal of Suzhou College of Education
