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随着20世纪60年代的第二波女权主义运动蓬勃发展,女性艺术家也越来越多从幕后走向幕前,新女权主义开始对传统的男性主导的文学艺术理论提出质疑,致力于以女性视角进行自我表达。在动画创作领域中,女性主义的自我表达呈现出各异的多个层次。依据福柯的凝视理论,是凝视主体的多重性决定了这种层次的多重性,本文以Majane.Satrapi的《我在伊朗长大》为例,从社会与女性的相互凝视以及女性对自身的凝视三个角度对当代女性主义动画的自我表达进行分析。
With the vigorous development of the second wave of feminist movement in the 1960s, more and more female artists are moving from behind the scenes. The new feminism began to question the traditional male-dominated theory of literature and art and devoted itself to using female perspective Self-expression. In the field of animation creation, feminism’s self-expression presents many different levels. According to Foucault’s theory of gaze, the multiple nature of the subject of gaze determines the multiplicity of this level. Taking Majane.Satrapi’s “I grew up in Iran” as an example, from the mutual gaze between society and women and the influence of women on themselves Staring at three angles to analyze the contemporary expression of feminist animation.