【作者】 谢晓霞；

【导师】 余纪；

【作者基本信息】 西南师范大学 ， 电影学， 2003， 硕士

【摘要】 曾几何时，女性主义是评论界的宠儿，女性电影是热门话题，事过境迁，和女性相关的话题已退居边缘。在这样的背景下，女性导演李少红的坚持和努力更显可贵。经过多年的探索，她找到了适合的表达方式并孜孜不倦的在这个园地里耕耘，女性视角成为她的作品的一大重要特征。 引言部分，本文概括地介绍了李少红的创作历程和特点。李少红的创作始于80年代末，综观其作品，由于她是从第五代逐步走入电视剧创作的，长时间的勇敢而成功的尝试使得她的每一部作品都分量十足而又各有千秋，这种多样化给李的研究者带来一定的难度。 本文主体分为两部分，依据导演在创作中体现出的对女性主题的关注程度，恰巧也把电影电视创作分断。 上篇“寻找花园”呈现了李少红从坚持第五代共有的启蒙主义精神拒绝承认女性性别的“准男性”到自觉关注女性命运的创作者这一过程。从世界范围的女性主义、女性运动、女性电影，到中国大陆的女性主义、女性电影，本文系统地清理这一背景是为了给李少红一个坐标，她和两类导演有联系——王苹类型即和同时代男性无区别的第一类女导演到黄蜀芹、胡玫类型的寻找女性自我表达的第三类女导演。其实，即便她作为第一类女导演创作《银蛇谋杀案》和《血色清晨》时，也没能完全掩饰自己的性别特征，一种潜意识、自发的女性特征闪烁其间；《四十不惑》《红西服》虽是“大题材、大时代”的触电方式，但依旧体现了探索的个性化和女性导演蕴涵着的对于社会历史变迁过程中男性的安抚和慰藉。女性意识的全面突围在《红粉》一片，尽管这是一部商业片，但片中对历史的另一种表述、对女人和边缘小人物的塑造以及影像层面上无不体现了导演的独具匠心，从而使这部影片成为标志女性电影高峰《人鬼情》的衔接之作。 下篇为李少红“美丽而独特”的电视剧创作评析。《雷雨》《大明宫词））（橘子红了》，三部电视剧表现的都是过去时空的故事，导演一反历史剧以男性为主的做法，女性成为演绎权与情的主角。剧中的历史既不是为了恢复史实原貌，也不是仅仅为了博得观众一笑的改编。历史提供的仅仅是个舞台，一些现实中可能或不可能发生的事件都在这个舞台上演，各色人物自由穿梭其间，创作者的感性抒发和理性思辨充溢其间，欢乐与哀愁得以寄托，这是一种荧屏上前所未有极端个人化、情绪化的写史方式，所以给世纪末的荧屏、给观众带来强烈的冲击。经历了电影阶段的长时间摸索，电视剧创作上，李少红很快形成了独特的影像风格，精美的造型、风格化的影像、诗一样的对白，音乐、插曲、服装、道具，每一个细小的组成部分都精雕细琢，完全以拍电影的投入程度来进行电视剧创作，从而创出堪称精品的雅作。“情”是李剧的重要角色，为了扩展研究空间，本文试着引入了一个比较对象，另一个言情剧高手琼瑶。二人有许多不同，在文化意义上，琼瑶深为儒家理念儒染，不可能有李少红一样鲜明的性别特色，她的所有故事都在传统中国男女关系的框架下发生发展，琼瑶电视剧里的男人多为古典大丈夫型，不同于李少红将男人置于剧中边缘位置。她们也有许多共同之处，首推唯情唯美的策略，同为市场运作环境下的电视剧创作，二人都注重商业化包装。由于琼瑶更早的涉入电视剧创作加上她在创作中的绝对主导位置，琼瑶言情剧己蔚为大观，本文接下去又尝试着提到电视剧的类型化与作者电视。写作本文的过程中，笔者基本上没能找到这方面的非常具有说服力的资料，只是认为电视剧的“作者”和“类型”的说法应该和电影类似，“作者”和“类型”之间也可以转化。琼瑶产量惊人观众数目始终保持在一定水平上的言情剧就是类型电视剧的典型，大陆的李少红导演那在许多人认为“不可模仿”的电视剧风格或许可以走到类似的境地，形成“女性电视剧”这样一个类型。 结论部分，面对当下大陆影视界己经遭遇和将可能遭遇的困境，电影（视）人任重道远，摆脱困境的唯一办法在于不断的创新和超越。李少红让我们更坚定了成功的信念，她的电视剧创作的成功成为这种超越的一个范例，关于她的研究应该更深，走得更远。更多还原

【Abstract】 Feminism and feminist movies were once among the popular topics in the commenting circles, but now things have been changed. Those topics related to the female receive little attention. To our joy, through many years’ exploration, female Director Li Shaohong has found a right way to express herself and worked hard at this field with diligence. In her works, female angle has been the main characteristic.In the exordium, this paper introduces Li Shaohong’s originating course and main features of her works briefly. She began to be a director at the end of 1980s. All of her products should not be taken lightly, and each of them has its strong points, which cause difficulty in researchers’ study on Li Shaohong.The main body of this paper falls into two chapters. On the basis of how Director Li concerns about the female in her origination, movie and TV are discussed in different chapters.The former chapter, Looking for the Garden, presents the changing process of Li Shaohong, from insisting on the enlightenment express which is common in the fifth-generation filmmakers’ origination to paying much attention to women’s fates consciously. For giving Li Shaohong right location, this paper illustrates feminism background systematically, from feminism and feminist film in the world to those in the mainland. It is concluded that Li Shaohong to two types female directors. That is one type of directors, such as Wang Ping, has no difference from male directors, and the other type includes directors such as Huang Shuqin, who work hard to find a way to express themselves as females. Actually, in Li Shaohong’s earlier works Case of the Silver Snake(1988) and Bloody Morning(1990), she didn’t cover up gender characteristic entirely, where a spontaneous and subconscious gender feature flashes.Although Family Portrait(1992)and Red Western-style Clothes (1997) draw materials from the grand events in the society, they still demonstrate the director’s individuality and hiding care for the male. Her feminism is completely displayed in Blush(1994), which wins box-office, and the director’s individuality is well presented. Blush is regarded as the second feminist film symbol, following the first one, Woman Human Demon(1987).The latter chapter remarks and analyzes those beautiful and unique TV plays, such as Thunderstorms, the Palace of Great Brightness and Oranges Have Turned Red. These TV plays tell us stories of the past. Unlike other historical stories, here heroines take the place of heroes, and romance instead of historical reality. History only provides a stage in the plays. Love, power and fights between them are leading roles. This individual way describing history on screen surprised the audience at the end of last century. From Li Shaohong’s TV plays, we can find good-looking mold making, style image effect, poetic dialogue, sweet music, attractive songs, pretty dress and elegant stage properties. It is said that Li Shaohong’s TV plays are noble. Love is an important element in the plays. Comparing with other famous female TV play maker Qiong Yao, from Taiwan, Li Shaohong cares more on the women’s fates and the realization of self value. Qiong Yao is a woman with Chinese classic feelings, and women always are men’s dependency in her plays. While facing market, they have many similar tactics. First, they are masters of telling us love stories and making frames beautiful. Second, they attach much importance to the film stars. This paper tries to distinguish "the writers’ TV plays" and "the type TV plays" then. We believe that Qiong Yao’s TV plays belong to the latter, while Li Shaohong’s works are included in the former now, but they may tend to the type ones’, called "Feminist TV Plays".In the last part, this paper discusses how to solve the problems the mainland film and TV makers are faced with. We claim the only way to extricate themselves from the difficult position is to work hard and surpass themselves, and the successful experience of Li Shaohong could make them more confident. Thus it is believed the or更多还原