凝视理论视域下关锦鹏电影女性情感困境与影像表达研究

A Study on Women’s Emotional Predicament and Image Expression in Stanley Kwan’s Films from the Perspective of Gaze Theory

摘要: 关锦鹏在华语电影创作中，以细腻的影像书写女性个体的情感境遇。本文选取《胭脂扣》《阮玲玉》作为核心分析文本，辅以《红玫瑰与白玫瑰》《女人心》片段，依托劳拉·穆尔维的电影凝视理论，结合拉康镜像理论，从作为奇观的女性身体、凝视与表演性历史记忆中的凝视三个层面展开文本细读。跳出非黑即白的性别权力评判视角，本文重点探讨影片内部多重凝视关系：亲密关系中的情感凝视、社会文化环境中的公众凝视以及女性的自我凝视，分析凝视如何形塑女性的情感选择与精神处境，挖掘文本内部人物顺从与挣扎的矛盾裂隙，解读关锦鹏影像对女性生存状态的镜像式呈现。

Abstract: In his Chinese‑language film creation, Stanley Kwan depicts the emotional experiences of individual women with delicate cinematography. Taking Rouge and Center Stage as core analytical texts, supplemented by excerpts from Red Rose and White Rose and Women, this paper conducts close textual reading from three dimensions: the female body as spectacle, desire and performativity, and the gaze in historical memory, based on Laura Mulvey’s film gaze theory and Lacan’s mirror‑stage theory. Moving beyond the oversimplified binary judgment of gender power, this paper focuses on the multi‑layered gaze relations within the films: the emotional gaze in intimate relationships, the public gaze in socio‑cultural contexts, and women’s self‑gaze. It analyzes how the gaze shapes women’s emotional choices and mental conditions, explores the contradictory cracks between characters’ submission and struggle, and interprets the mirror‑like representation of women’s living conditions in Stanley Kwan’s films.