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女性电影在西方是一个特定的概念,它与女权运动紧密相关,女性电影强调女性的独立性和个体性。在香港电影中,关锦鹏的作品是别具一格的,他消解了一般电影中的男权意识,关注女性的生活特点和社会地位,旨在表现不同的受到压迫和摧毁的悲剧女性形象。本文以九十年代香港女性电影为背景,结合关锦鹏的生活环境和经历来对其作品中的悲剧女性形象例如《胭脂扣》中的如花以及《阮玲玉》中的阮玲玉进行分析和研究。最后以悲剧女性形象产生的意义与影响进行了深入的阐述和总结。
Women’s movies are a particular concept in the West. They are closely related to the feminist movement. Women’s films emphasize women’s independence and individuality. In Hong Kong films, Kwan Kam-peng’s work is distinctive. He resolves the patriarchal sense of general films and focuses on the life characteristics and social status of women in order to show different tragedy women who have been oppressed and destroyed. This article, based on the Hong Kong female films of the 1990s, combined with the living environment and experience of Guan Jinpeng, analyzed and traced the tragic female images in her works such as the flower blossom in Rouge Buck and Ruan Lingyu in Ruan Lingyu. Finally, the meaning and influence of the tragedy female image are expounded and summarized.