华语电影三代女明星的文化表征及其转移轨迹

摘要： 电影女明星作为视觉化的范本，具有重要的研究价值。明星的文化认同跟主体所处的社会空间和所担任的社会角色有密切的关系。华语电影的三代女明星的文化表征，分别隐喻着近30年以来中国社会与电影及大众文化表演的转移轨迹。新时期电影表演与政治叙事的框架下掩饰不住的是大众的集体幻想；而巩俐则是作为传统东方文化及想像的承载对象而出现的；章子怡作为大众传媒时代的明星，是按照电影工业和明星制的机制及规范逐步被打造而成的。她们分别对应的是身体性的历史展示，文化想像被作为一种假象的情色奇观以及纯粹符号化的快感凝视。传播民族文化，准确把握明星受众视觉与文化心理，进而推及到国际语境之中，是我们常常看不到的问题。

The Cultural Characteristics of Three Generations of Female Stars in Chinese-Language Films and Its Shift Track

As an example of visualization,the female film star is well worth studying.There is a close relation between the cultural identity of stars and their main body's social space and social role.The cultural characteristics of three generations of female stars in Chinese-language films,in past 30 years,contain respectively the shift track of the Chinese society,film and popular cultural performance.For the new-period film,although performing is combined with politics,the narrative frame cannot cover up popular fantasy as a whole.While Gong Li acts as a carrier of traditional Eastern culture and its fantastic object,Zhang Zi-yi,as one of the stars in the times of mass media,is gradually forged in according with the mechanism and criterion of the film industry and the star system.Since they are correspondingly deal with the historical show characteristic of body,cultural fantasy is considered as a false sex-wonder as well as a large-charge stare of pure symbolization.Very often,these questions are never discussed,of how to spread national culture,to grasp correctly the star vision and cultural psychology of audience,and to go further to do so in the international context.