《通过幽灵的复仇:电影中女性愤怒的表达》,东海都耀也凯丹,孙德尔波龙

R. E. Pasaribu, Meilia Widya Ananda
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引用次数: 1

摘要

《东海都横屋海旦》(1959)和《桑德尔·波龙》(1981)分别是日本和印度尼西亚的恐怖电影,讲述了女性受到男性的压迫,并在男性死亡后对其进行报复的故事。这两部电影的关键相似之处在于,它们的核心女性角色都是为了表达对男性压迫者的愤怒而变成鬼魂的。本研究旨在研究《东海都横谷开旦》和《桑德尔·波龙》中女性愤怒是如何被描绘出来的,通过语言和视觉文本分析以及Heilbrun的权力概念、Mulvey的男性凝视和Creed的怪物-女性化来解读这些电影中以鬼魂形式表达的女性愤怒背后的意义。研究发现,这些女性无法在被父权秩序控制的现实世界中表达自己的愤怒。死后的生活是他们唯一可以表达愤怒的空间。因此,这两部电影都可以被解释为日本和印度尼西亚社会中父权意识形态内化的文化文本。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Revenge Through Haunting: Expression of Women’s Anger in the Movies, Tookaidoo Yotsuya Kaidan and Sundel Bolong
Tookaidoo Yotsuya Kaidan (1959) and Sundel Bolong (1981) are horror movies from Japan and Indonesia, respectively, about women who are oppressed by men and subsequently take revenge on them after their deaths. The key similarity between these two movies is that they have central female characters who turn into ghosts in order to express their anger towards their male oppressors. This study aimed to see how women's anger is depicted in Tookaidoo Yotsuya Kaidan and Sundel Bolong, using verbal and visual text analysis and the concept of power by Heilbrun, male gaze by Mulvey, and monstrous-feminine by Creed to read the meaning behind woman’s anger as it is expressed in the form of a ghost in these movies. The research found that these women cannot express their anger in the real world, which is controlled by the patriarchal order. Life after death is the only space where they can express their anger. Both movies can consequently be interpreted as cultural texts that internalize patriarchal ideology in Japanese and Indonesian society. 
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