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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

黄碧赫. 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[J]. 国际比较文学, 2020, 3(2): 289-300. doi: 10.19857/j.cnki.ICL.2020325
引用本文: 黄碧赫. 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[J]. 国际比较文学, 2020, 3(2): 289-300. doi: 10.19857/j.cnki.ICL.2020325
HUANG Bihe. From Monroe to Mishima: Gender and Cultural Identity in Yasumasa Morimura's Performance and Photography[J]. International Comparative Literature, 2020, 3(2): 289-300. doi: 10.19857/j.cnki.ICL.2020325
Citation: HUANG Bihe. From Monroe to Mishima: Gender and Cultural Identity in Yasumasa Morimura's Performance and Photography[J]. International Comparative Literature, 2020, 3(2): 289-300. 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

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

  • 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。
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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

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