📕书籍信息
- 书名：Laura Mulvey_ Visual Pleasure and Narrative Cinema
- 作者：Laura Mulvey,Rachel Rose
- 豆瓣评分：⭐9.6
- 出版社：KOENIG BOOKS
- isbn：9783863359652
- 出版日期：2016-7-1
- 价格：12,80 €/$14.95
- 豆瓣：Laura Mulvey_ Visual Pleasure and Narrative Cinema
🌵内容简介
【编辑推荐】：
Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility to the generative qualities of this key essay.
In this book, the celebrated New York-based video artist Rachel Rose (born 1986) has produced an innovative work that extends and adds to the essay’s frame of reference. Drawing on 18th- and 19th-century fairy tales, and observing how their flat narratives matched the flatness of their depictions, Rose created collages that connect these pre-cinematic illustrations to what Mulvey describes in her essay-cinema flattening sexuality into visuality.
📣听过的人说…
🧐讀書筆記 –
Laura Mulvey在《视觉快感与叙事电影（Visual Pleasure and Narrative Cinema）》（1975）一文中，运用精神分析理论对经典好莱坞叙事电影中的观看机制进行了批判。她指出，主流电影深嵌于父权社会的意识形态结构之中，其形式和叙事都在无意识层面强化了性别不平等。
Mulvey借用弗洛伊德的“窥视癖”和拉康的“镜像阶段”理论，区分出两种主要的观影快感模式：
一是“窥视”。观众通过把女性当作物化的性客体而获得窥视性快感，影院的黑暗与银幕强光的对比，更强化了这种窥视的幻觉。例如，许多电影对女性身体部位的特写（玛琳·黛德丽的双腿、葛丽泰·嘉宝的面孔）；在希区柯克的《后窗》里，杰弗瑞就像坐在影院里的我们，用镜头偷窥对面的住户。
二是“认同”。观众通过与银幕上的男性主角形成认同，从而确认和强化自我。在父权文化中，女性被当作男性的“他者”，被固定在一套象征秩序里：男人掌控语言，把自己的幻想和执念投射到沉默的女性形象上，女性被当作意义的承载者而不是生产者。男性电影明星的迷人之处，不在于他是被观看的性对象，而在于他像观众构想…
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