比较分析电影《末路狂花》和《大红灯笼高高挂》中的女性主义

女性主义题材的电影在中西方文化交流中占据重要的地位。尤其自二十世纪下半叶至今，中外有关女性主义电影的研究已经越来越丰富。然而，在中国，这一课题的传播仍然需要推进。电影是反映文化内涵的有力手段，女性主义电影恰恰是研究当代女性主义发展态势的重要环节。《末路狂花》与《大红灯笼高高挂》同时诞生在1991年不能不说是电影史上一次耐人寻味的巧合。当中国第五代导演中的领军人物张艺谋拍摄《大红灯笼高高挂》的时候，远在大洋彼岸的雷德利•斯科特先生也在制作《末路狂花》这部电影。论文通过对比《末路狂花》与《大红灯笼高高挂》这两部电影，结合电影创作的时代背景与导演拍摄电影的不同风格、手法、技巧, 以及编剧手段、电影评论、大众反响等多个方面,分析英语文化与中国文化中不同特色的女性主义内容，从而在跨文化对比中发现,研究，并总结女性主义的特点以及当代女性主义的深刻内涵。

关键词: 女性主义；跨文化交际；当代女性

Abstract

The destiny of women in films remains an important theme in film history. Particularly since half of the twentieth century, both Chinese and foreign researches on feminism in films has been contending a lot. However, the spread of feminism in China still needs to be advanced. Film is a powerful means of reflecting the cultural connotation; feminist film is precisely an important part of the developing trend in the study of contemporary feminism. It is an intriguing coincidence in film history that Thelma and Louise and Raise the Red Lantern were born in 1991 at the same time. When Zhang Yimou, one of the leading directors of the fifth Chinese director generation was shooting Raise the Red Lantern, Mr. Ridley Scott was shooting Thelma and Louise far across the Atlantic Ocean. By contrasting Thelma and Louise and Raise the Red Lantern, combined with the background, different styles, techniques, and professional skills of the two directors, and techniques of the screenwriters, movie reviews, and people’s reaction towards these films, this paper analyzes feminist in the different characteristics of both Chinese and western culture. Thus, through cross-cultural comparison, the paper finds, analyzes and summarizes the characteristics of the profound meaning of feminism and contemporary feminism

Key Words: Feminism; Cross-Cultural Communication; Contemporary Female

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