【作者】 王乃华；

【导师】 胡克；

【作者基本信息】 中国传媒大学 ， 电影学， 2009， 博士

【摘要】 本文的两性喜剧电影(comedy of the sexes),是指以两性关系为叙事主线的喜剧片。美国的两性喜剧片,可以分成诸多小的亚类型,主要包括:怪僻喜剧、浪漫喜剧、青春爱情喜剧等。美国两性喜剧电影出现了众多的优秀作品,在美国电影发展中占有重要的历史地位,而目前国内对于美国两性喜剧电影的研究尚处于拓荒状态。国内尚未有专门研究美国两性喜剧电影的专著或者学术论文,相关研究十分匮乏:对其历史进程缺乏必要的最基本的梳理,现有研究只是对于个别导演以及某些亚类型的考察;对于两性喜剧的重要导演、作品以及亚类型的研究也十分薄弱,有许多仍然是研究的盲点,即便对个别导演和亚类型有所介绍,亦不够深入,有待进一步开掘;对于美国两性喜剧的创作特点与喜剧机制缺乏必要的研究,对于美国两性喜剧的意识形态策略更无系统研究。本文对于美国两性喜剧电影的研究,既分析其历史变迁,研究其创作特点与发展规律,同时从影片的叙事策略来研究电影与社会文化之间的互动关系。以历史学的方法研究其发展轨迹,同时从美学、叙事学的层面上研究影片的喜剧策略与风格特征,并从社会学的角度来分析电影创作的演变。本文立足于类型电影理论、意识形态批评、女权主义批评、结构主义叙事学、弗洛伊德的诙谐理论、巴赫金的狂欢理论等理论体系,对美国两性喜剧电影进行历时性与共时性研究,探讨该类型在历史发展进程中的种种变化。在具体研究思路上,首先在第一章探讨几种美国两性喜剧电影的发展历程与个性;然后在第二、三章分析美国两性喜剧电影的共性,剖析美国两性喜剧电影实现娱乐化的喜剧策略与情节模式;在第四章分析美国两性喜剧电影背后潜隐的意识形态,剖析其意识形态的本质。本文的创新之处在于,在国内首次就美国两性喜剧电影的发展历程进行了梳理,对于国内一直未给予重视的基顿、劳埃德的默片浪漫喜剧,以及怪僻喜剧片、刘别谦喜剧等进行了研究,并首次提出美国两性喜剧的发展历程是一个由狂欢化逐步向正统的喜剧传统归位的过程。其次,本文首次分析了美国两性喜剧的喜剧机制、喜剧策略,指出其喜剧性实现的内部机制是里比多(libido)冲动的诙谐转化,并提出欢喜冤家式的性别斗争和易装的性别错位是其实现娱乐神话的喜剧策略,性别错位带来打破禁忌的快感,又可以规避由于跨性别角色而带来的道德风险。并对其情节模式进行了系统研究,归结出了美国两性喜剧的追求、竞争、救赎、准许、对垒、复合、外遇、逃婚等情节模式。再次,本文首次剖析了美国两性喜剧电影中的意识形态,指出在好莱坞的两性喜剧叙事中,两性关系是非常重要的“意识形态置换术”,体现着对主流意识形态话语的隐形书写,将意识形态之间的对立与冲突以两性之间分歧与斗争的喜剧方式加以展现,化解了社会意识形态斗争的残酷性。同时,在两性对立的斗争过程中,以对于“负面的价值观”的改造,满足了改良社会的愿望,并将不同阶级两性的融合作为阶级矛盾与斗争的象征性解决方式。与此同时,美国两性喜剧也在进行着美国男权性别秩序的再生产,这分别体现在两性关系中男性的支配或主导地位、教化启蒙的主体姿态,以及对于女性的身体规训、男女评价的双重标准等方面。更多还原

【Abstract】 Comedy of the sexes refers to the comedy which takes relationship between the sexes as the main narrative. American comedy of the sexes can be divided into many small sub- genres: Screwball comedy, romantic comedy, youthful love comedy, etc. Though there are a large number of outstanding works among American comedy of the sexes and occupy an important historical status, the study on it is still in the pioneering status. There is a lack of the necessary basic research on the significant directors, production, sub-genres, characteristics, comedy mechanism, ideology, or development of it.This dissertation analyzes not only the development, the characteristics and the law of development, but also the interaction between the films with the society and culture. This dissertation also explores the development history of American comedy of the sexes, and comedy strategy or style from the perspective of aesthetics, narratology. The study is based upon the film genre theory, ideologiekritik, feminist criticism, structuralism narratology, Sigmund Freud’s theory of humor, Bakhtin’s carnival theory.Chapter one explore the development history and individuality of the sub- genres, then chapter two and three explore the universality such as comedy strategy and plot mode for the American comedy of the sexes, chapter four explore the hidden ideology nature.First, the innovation lies in the process for conducting a more systematic study for the first time, and first to propound the development of American comedy of the sexes is a process from carnivalization gradually to the orthodox tradition. Second, the innovation lies in the study on comedy mechanism and comedy strategy for American comedy of the sexes, and the comedy mechanism is the transformation from libidinal impulses to humor, gender struggle, and cross-dressing is the comedy strategy for it.I advance some plot modes of it such as pursue, competition, salvation, permit, oppose, become reconciled, have an affair, running from wedding ceremony, etc.Thirdly, there is a detailed analysis on the ideology of American comedy of the sexes. Gender relations are very important "ideological replacement" which embodies the mainstream ideology by invisible writing. Ideological confrontation and conflict is to be replaced by gender struggle in a comedy manner and, the integration of gender is used as a symbolic solution to class contradictions. It is also engaged in the reproduction of gender order of androcentrism.更多还原