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本文分析了小说中东方不败的形象特征,将东方不败概括为天才与变态的结合。本文整理了自1978—2013年10个版本的东方不败的影视形象,以1992年林青霞版东方不败为界,将其影视形象分为两类,即丑陋可笑、变态恐怖的被阉割者与英俊神武、如花似玉的“女主角”。本文第二部分对东方不败从被鄙夷到被追捧,从边缘到中心的现象进行分析。分析认为,原因有二:第一是影视改编了东方不败的形象,使东方不败人化、美化、神话;第二是网络的虚拟性使性别符号化,日本动漫使性别界限模糊化,西方性思潮的冲击使大众逐渐接纳性别的流动性观念,让酷儿的亚文化走进大众的视野。
This article analyzes the unbeaten image of the East in the novel and summarizes the unbeaten orientalism as a combination of genius and perversion. This article has sorted out 10 versions of the unbeaten oriental film images from 1978 to 2013. With the undefeated Eastern Zhou Dynasty by Lin Ching-hsia in 1992, the article divides its image into two categories: the unguarded, perverted and castrated Handsome, spellbound “actress ”. The second part of this article analyzes the unbeaten oriental from the despicable to the sought after, from the edge to the center. The analysis shows that there are two reasons for this. The first is the adaptation of the unbelievable oriental image in the film and television so that the East is unmanned, beautified and mythical. The second is that the virtual nature of the Internet symbolizes the gender, and the Japanese animation obscures the gender boundaries. The impact of the Western trend of thought so that the public gradually accepted the concept of gender mobility, Queer subculture into the public’s field of vision.