From Monroe to Mishima: Gender and Cultural Identity in Yasumasa Morimura's Performance and Photography
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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。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.
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Key words:
- Yasumasa Morimura /
- Yukio Mishima /
- Marilyn Monroe /
- gender /
- cultural identity
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