从玛丽莲·梦露到三岛由纪夫——森村泰昌的表演和摄影艺术中的性别与文化身份

黄碧赫

doi:10.19857/j.cnki.ICL.2020325

从玛丽莲·梦露到三岛由纪夫——森村泰昌的表演和摄影艺术中的性别与文化身份

doi: 10.19857/j.cnki.ICL.2020325

黄碧赫

海德堡大学

计量
- 文章访问数: 698
- HTML全文浏览量: 110
- PDF下载量: 796
- 被引次数: 0
出版历程
- 收稿日期: 2020-01-12
- 修回日期: 2020-04-10
- 刊出日期: 2021-03-09

From Monroe to Mishima: Gender and Cultural Identity in Yasumasa Morimura's Performance and Photography

HUANG Bihe

Heidelberg University

摘要

摘要: 日本当代艺术家森村泰昌以他戏仿西方经典绘画和电影剧照中的女性形象的表演和摄影闻名。本文以森村泰昌戏仿美国电影明星玛丽莲·梦露的《玛丽莲系列》（1996）和近期完成的项目《安魂曲》中挪用日本作家三岛由纪夫形象的“烈火的季节”一章（2006）为例，从性别研究的角度分析森村泰昌的表演和摄影作品。通过比较玛丽莲·梦露在《七年之痒》剧照中的形象与森村泰昌的《自画像（女演员）/白色玛丽莲》和《自画像（女演员）/黑色玛丽莲》，考察艺术家如何通过自己的男性身体挑战异性恋男性的凝视和固化的性别身份。同时，作者将艺术家的作品放置在战后美日关系的语境之中，分析两位被挪用对象玛丽莲·梦露和三岛由纪夫之间的联系。通过比较三岛由纪夫在《蔷薇刑》（细江英公摄）中的形象和森村泰昌在“烈火的季节”中的戏仿，探寻森村泰昌如何由个体的性别展演透视国家的文化性别。
- 森村泰昌 /
- 三岛由纪夫 /
- 玛丽莲·梦露 /
- 性别 /
- 文化身份
Abstract: Japanese contemporary artist Yasumasa Morimura is renowned for his parodies of female characters in Western paintings and film stars in Western mainstream movies through performance and photography. In this essay, through an analysis of Morimura's Marilyn Series (1996) and “Seasons of Passion” (2006), the first chapter of his recent project, A Requiem, I will investigate Morimura's performance and photography from a gendered perspective. With a comparison between Monroe's image in the film still of The Seven Year Itch (1955) and Morimura's Self-Portrait (Actress) / White Marilyn and Self-Portrait (Actress) / White Marilyn, this essay will also examine how Morimura challenges the male gaze of the heterosexual male and fixed gender identity with his male body. By contextualizing his works in the US-Japan relations in the postwar period, I will also explore the connections between the two appropriated figures, Marilyn Monroe and Yukio Mishima, and see how Morimura intersects gender identity of the self with the cultural gender of a nation. By making comparisons between the original images of Mishima in Eikoh Hosoe's photo album Ordeal by Roses and Morimura's appropriations in “Seasons of Passion,” this essay will show how Japan's cultural gender identity is addressed in Morimura's appropriation practices.
- Yasumasa Morimura /
- Yukio Mishima /
- Marilyn Monroe /
- gender /
- cultural identity

HTML全文

参考文献(19)

[1]	Baudrillard, Jean. Seduction. Translated by Brian Singer. Montreal: New World Perspectives, 1990.
[2]	Bryson, Norman. “Morimura: 3 Readings.” In Morimura Yasumasa: The Sickness unto Beauty-Self-Portrait as Actress. Yokohama: Yokohama Museum of Art, 1996, 74-79.
[3]	Butler, Judith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal 40, no. 4 (1988): 519-20.
[4]	Chino, Kaori. “A Man Pretending to Be a Woman: On Yasumasa Morimura's Actresses.” In Morimura Yasumasa: The Sickness unto Beauty-Self-Portrait as Actress. Edited by Yokohama Museum of Art. Yokohama: Yokohama Museum of Art, 1996, 157-62.
[5]	——-. “Gender in Japanese Art.” In Gender and Power in the Japanese Visual Field. Edited by Joshua S. Mostow, Norman Bryson, and Maribeth Graybill. Honolulu: University of Hawaii Press, 2003, 17-34.
[6]	Fritsch, Lena. The Body as a Screen, Japanese Art Photography of the 1990s. Hildersheim: Georg Olm Verlag AG, 2011.
[7]	Fung, Richard. “Looking for My Penis: The Eroticized Asian in Gay Video Porn.” In A Companion to Asian American Studies. Edited by Kent A. Ono. Malden: Blackwell Publishing, 2005, 235-53.
[8]	Hosoe, Eikoh. Barakei: Ordeal by Roses: Photographs of Yukio Mishima. New York: Aperture, 1985.
[9]	Karlin, Jason G. “The Gender of Nationalism: Competing Masculinities in Meiji Japan.” Journal of Japanese Studies 28, no.1 (2002): 41-77.
[10]	Mackie, Vera. “Understanding through the Body: The Masquerades of Mishima Yukio and Morimura Yasumasa.”In Genders, Transgenders and Sexualities in Japan. Edited by Mark McLelland and Romit Dasgupta. New York: Routledge, 2005, 126-44.
[11]	Maggia, Filippo, and Marinella Venanzi, eds. Yasumasa Morimura: Requiem for the XX Century: Twilight of the Turbulent Gods. Milan: Skira, 2008.
[12]	Morimura, Yasumasa. “Why I Posed as Yukio Mishima, Or, The Relationship of 3 M's: MacArthur, Mishima, Morimura.” A speech at Donald Keene Center of Japanese Culture, Columbia University, New York, April 14, 2010. http://www.keenecenter.org/download_files/MorimuraSpeech.pdf[December 27, 2019].
[13]	Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Film Theory and Criticism: Introductory Readings. Edited by Leo Braudy and Marshall Cohen. New York: Oxford University Press, 1999, 833-44.
[14]	Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis, MN: University of Minnesota Press, 1999.
[15]	Scott-Stokes, Henry. The Life and Death of Yukio Mishima. New York: Cooper Square, 2000.
[16]	Shabecoff, Philip. “Everyone in Japan Has Heard of Him.” New York Times, August 2, 1970.
[17]	Shionoiri, Yayoi. “Nihilist Nationalist or Syncretic Hybridist: A Visual Analysis of the Representations of Mishima Yukio in the 1985 Edition of Barakei.” In Beyond Boundaries: East and West Cross-Cultural Encounters. Edited by Michelle Ying Ling Huang. Newcastle upon Tyne: Cambridge Scholars Publishing, 2011, 170-91.
[18]	(日)森村泰昌?. 芸术家Mのできるまで. 东京:筑摩书房,1998.
[19]	[Morimura, Yasumasa. Geijutsuka M no dekiru made (Making of the Artist M). Tokyo: Chikuma Shobō, 1998.]