Please use this identifier to cite or link to this item:
|Title: ||Women Trapped: Ann Hui′s Narrative Strategy and Social Critique in Summer Snow, Goddess of Mercy, and The Postmodern Life of My Aunt|
|Keywords: ||許鞍華;女性;地景空間;敘事策略;社會批判;Ann Hui;Female Protagonist;Cityscape;Narrative Strategy;Social Critique|
|Issue Date: ||2015-07-30 20:23:35 (UTC+8)|
|Abstract: ||作為香港新浪潮的旗手之一，許鞍華從第一部劇情長片《瘋劫》(1979)開始，在香港電影工業耕耘三十多年並累積約二十六部電影創作，其創新的風格與主題為當時疲軟無力的香港電影界注入一股活力。從香港電視廣播有限公司（Television Broadcasts Limited 簡稱：TVB )的創作開始，即可一見作品與香港社會的緊密關係與互動，更不乏取材自香港真實社會的事件與觀察，並在之後的劇情長片裡的故事做更完整的發展，使她的電影獲得「香港社會良心的作品」的美譽(張健德,150)。然而，在現存研究許鞍華電影的論述中卻少見深刻而完整的研究，其研究莫可分成兩派，一派討論許鞍華在《女人四十》(1995)之前的電影作品，皆可見到其尋找身分認同的母題； 另一派則討論《女人四十）之後的作品,此派認為許鞍華從《女人四十》開始，大量使用女性角色，並聚焦許鞍華對女性是否有自我主體性（subjectivity）等性別議題之探討。然而，本篇論文則嘗試著回應以上的討論，認為許鞍華的電影應該超脫各自探討身分認同與女性議題的範疇，因而有著人文主義之關懷。|
;Ann Hui On-Wah, the forefront director of the Hong Kong New Wave, has been working on films for over thirty years and has hitherto accumulated twenty-six films. With her first feature film The Secret (Feng jie, 1979), she impressed Hong Kong film industry for its fresh subject and innovative film style. Her consistent concerns for social issues made her films be appreciated as “products of social conscience” (Teo 150). Film critics in general discuss Ann Hui’s films under two social frames, films made before Summer Snow (1995) are approached as identity search, while those made after for confirming women’s subjectivity. However, this thesis believes that Ann Hui’s films should not be limit to these two approaches, especially when her films made after Summer Snow demonstrate a clear new narrative strategy to centralize the female protagonist in the plot and make good use of spaces so as to address both gender and broader social issues. This thesis discusses Ann Hui’s three films Summer Snow (1995), Goddess of Mercy (2003), The Postmodern Life of My Aunt (2005). It focuses on her representation of female protagonists and spaces in each film to lay out Hui’s narrative strategy and the gender and social concerns in each film. This thesis will further argue that Ann Hui’s social critiques are mediated by women’s suffering and trapped situation, directed to modernization of Hong Kong and later China.
Chapter one sees Summer Snow as Ann Hui’s turning point work, revealing her new narrative strategy. This chapter elaborates on Ann Hui’s “cinematics of everyday” to include Ann Hui’s representation of space, which often implies temporal rupture between the old and the new Hong Kong society, dislocating the female protagonists. It shows how the character May is shown to be disoriented in her daily crossing of the domestic and working spaces at the time when Hong Kong was in the process of modernization. The chapter argues that the anxiety caused by the social change from the traditional to the modern is incarnated in May’s sense of loss as she seems to be excluded from both. To Hui, the issue of women’s subjectivity is not merely a gender issue but a social issue at large.
Chapter two examines Goddess of Mercy, Ann Hui’s debut Mainland-Hong Kong coproduction film. This chapter argues that despite the film’s co-production nature and its seemingly action film genre, the film is still about women like Ann Hui’s Summer Snow and her other films. The male genre of Hong Kong action film is adopted to reinforce Ann Hui’s social critique of gender inequality. The film in fact uses heterosexual structure in the traditional Hong Kong gangster film format instead of homo social one to reveal the violence patriarchal ideology inflicts upon women. This chapter reads Goddess of Mercy closely to argue that, by adopting a male genre to tell a story about a woman, Ann Hui is making a strong statement about gender inequality in modern Chinese society. The undercover theme, which critics of The Internal Affair has quickly demonstrated to be related to the issue of identity, is borrowed in the film to emphasize women’s loss of subjectivity. It enables the audience to observe the stereotypes the patriarchal society holds about women. The film not only portrays the hidden patriarchal ideology in An Xin’s relationships with the three men, it also makes the violence that kills her and her child an allegory of what Chinese women quietly suffer every day.
Chapter three looks into Ann Hui’s The Postmodern Life of My Aunt. The film emphasizes the temporal difference between the two stages of China’s modernization from the 60s to the 90s. It “realistically” depicts the protagonist’s life of being trapped in between the modern and the postmodern China. The chapter argues that the film still contains a linear narrative to depict the protagonist as a tragic character with an ambition to pursue a “modern” life in Shanghai as an independent woman but is forced to fall back to being a domestic woman in her “home” at Anshan. Following Linda Hutcheon’s notion of postmodernism, the chapter also argues that the key tag “postmodern” in the film’s title should be understood in this sense as an irony with strong critical power. The Postmodern Life of My Aunt uses postmodern parody to show a woman like Ye is excluded from China’s postmodern drive to globalization and will always falls back to the patriarchal confinement despite her desire to be independent. By calling Ye’s life in Shanghai her “postmodern life” Ann Hui points to the irony of the term and China’s rapid modernization since the 90s.
|Appears in Collections:||[英美語文研究所 ] 博碩士論文|
Files in This Item:
All items in NCUIR are protected by copyright, with all rights reserved.