Laura Mulvey: Visual Pleasure and Narrative Cinema
出版社
出版时间
2016-07-01
ISBN
9783863359652
评分
★★★★★
书籍介绍
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.
AI导读
核心看点
- 本书核心收录了劳拉·穆尔维1975年发表的奠基性论文《视觉快感与叙事电影》，该文首次系统提出“男性凝视”理论，运用精神分析批判好莱坞电影如何通过窥视癖与自恋认同机制，将女性客体化为满足男性欲望的视觉符号，是电影研究与女性主义理论的里程碑。
- 书中包含艺术家Rachel Rose的创新视觉回应作品，她通过拼贴18、19世纪童话插图与电影图像，揭示前电影时代的扁平叙事与电影视觉快感之间的历史延续性，以艺术实践拓展了穆尔维理论在当代视觉文化中的批判边界与美学可能性。
- 材料明确展示了该理论对父权制意识形态的深刻揭露，指出主流电影结构如何无意识地强化性别不平等，通过弗洛伊德式的阉割焦虑与菲勒斯中心主义逻辑，构建出排斥女性主体性的观看秩序，为理解影像背后的权力关系提供了关键的分析工具。
适合谁读
- 适合电影研究、文化研究及艺术理论领域的学者与学生，特别是需要深入理解“凝视”理论、性别政治与意识形态批判的研究者，本书提供了该领域最权威且被广泛引用的原始文献与理论框架，是学术引用与理论溯源的必备资料。
- 适合对女性主义理论、精神分析批评及视觉文化研究感兴趣的读者，书中内容有助于剖析媒体影像中隐含的性别偏见与权力结构，帮助读者识别并反思日常观影体验中可能存在的无意识偏见，提升对视觉媒介的批判性解读能力。
- 适合当代艺术家、策展人及创意工作者，书中Rachel Rose的艺术实践展示了如何将激进理论转化为视觉创作，为探索图像历史、挑战传统叙事规范及进行反凝视的艺术实验提供了灵感与参照，促进理论与创作的跨界对话。
读前提醒
- 穆尔维原文大量使用弗洛伊德与拉康的精神分析术语，如窥视癖、自恋认同、阉割焦虑等，概念晦涩且逻辑严密，阅读时需保持耐心，建议结合相关精神分析基础知识或导读材料辅助理解，切勿因术语障碍而放弃其深刻的批判价值。
- 需注意该理论发表于1975年的历史语境，其基于经典好莱坞电影的批判具有特定时代局限性，当代读者应结合当下流媒体、短视频及多元性别视角进行反思，避免简单套用，而应思考其在数字媒体时代的新变体与适用边界。
- 本书并非单纯的理论文本，而是包含艺术回应的混合出版物，阅读时应注意区分理论批判与艺术创作的不同意图，避免将艺术家的视觉实验误读为理论论证，同时警惕将“男性凝视”简化为二元对立，需深入理解其复杂的意识形态运作机制。
读者共识
- 读者普遍公认这是电影研究领域引用率最高、影响力最持久的文献之一，尽管部分读者认为其原文晦涩难懂，但对其揭示电影工业中性别权力结构的开创性贡献给予高度评价，认为它是理解当代视觉文化不可或缺的理论基石，具有极高的学术价值。
- 多数读者指出该理论在当代依然具有强烈的现实解释力，能够揭示包括《尚气》等主流商业电影中对女性角色的物化与缺席现象，读者赞赏其提供了解构父权制视觉逻辑的密钥，但也提醒需警惕将其作为唯一标准，应结合更广泛的酷儿理论与后殖民视角。
- 读者一致认可书中Rachel Rose的艺术部分为理论提供了有力的视觉佐证与延伸，认为这种理论与实践结合的形式极具启发性，但同时也反映出部分读者对纯粹理论文本的疏离感，建议读者在批判性阅读的同时，保持对理论历史局限性的清醒认知。
本导读基于书籍简介、目录、原文摘录、短评和书评生成，不等同于全文精读。
精彩摘录
- "The cinema satisfies a primordial wish for pleasurable looking, but it also goes further, developing scopophilia in its narcissistic aspect. The conventions of mainstream film focus attention on the human form. Scale, space, stories are all anthropomorphic. Here, curiosity and the wish to look inter"
- "This is a moment when an older fascination with looking (at the mother's face, for an obvious example) collides with the initial inklings of self-awareness."
- "A and B have set out two contradictory aspects of the pleasurable structures of looking in the conventional cinematic situation. The first, scopohilic, arises from pleasure in using another person as an object of sexual stimulation through sight. The second, developed through narcissism and the cons"
- "The first is a function of the sexual instincts, the second of ego libido."
- "Both pursue aims in indifference to perceptual reality, creating the imagised, eroticised concept of the world that forms the perception of the subject and makes a mockery of empirical objectivity."
- "Sexual instincts and identification processes have a meaning within the symbolic order which articulates desire. Desire, born with language, allows the posiibility of transcending the instinctual and the imaginary, but its point of reference continually returns to the traumatic moment of its birth: "
- "a complex process of likeness and difference (the glamorous impersonates the ordinary)."
- "the cinema has structures of fascination strong enough to allow temporary loss of ego while simultaneously reinforcing the ego. The sense of forgetting the world as the ego has subsequently come to perceive it (I forgot who I am and where I was) is nostalgically reminiscent of that pre-subjective mo"
用户评论
as an example of "lens" / designed by Sara de Bondt
虚心学习
几十年不衰减的引用量足以证明这是一篇伟大且充满争议的文章。通过引用弗洛伊德精神分析，分析了传统好莱坞电影带来的两种视觉快感：scopophilic voyeurism与narcissistic identification。前者是隐藏于暗处（银幕外黑暗）的偷窥快感，后者是自我中心理想化的银幕投射。对我最大的启发是，将俄狄浦斯情结的castration anxiety类比到男性凝视中，并将解决这种焦虑的方法归结于希区柯克式的sadistic voyeurism和Sternberg式的fetishistic scopophilia。对male gaze的分析是开创先例且非常老练的，在这之后关于种族性别的gaze讨论，全都绕不过Mulvey。
好经典，读完之后才发现原来现在的一些想法出处是这里。电影里女性角色怎样被看的，又因为freud所建构的castration anxiety而分为两种类型—赋予她trauma又或者fetish scopophilia；男性角色如何被看的（mirror moment），相当于是理想的自我的映射，以及他们的作用。以及男性角色对女性角色的看和观众透过男性角色而对女性角色的看。（但现在很好奇的是male gaze和lesbian gaze类似吗，又会有什么不同
超好看，即便今天《尚气》啥的也是这样的模式，女性的缺席与记忆的在场
万分感谢.🙏🏻
I don’t think it matters that much. psychoanalysis is definitely expanding but also invading cinema.
两种基于assumed male spectatorship的visual pleasure：scopophilia and identification。两种模式：fetishistic and voyeuristic。课本里解读说延伸出why women might find pleasure in these films is because the society trains us to view as men. True但是我并没有觉得原文有这一层意思，更多的是作为单纯的binary来解读，我个人认为问题在于essentialist tendencies需要take into account class and race来讨论而并不是单单的男女对立
Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret.
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