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电影中旗袍作为中国女性符号的象征已经由来已久,电影中对于女性旗袍的迷恋,折射了中国女性意识的发展轨迹和男权主义下的女性姿态的表达和自我审美。当下电影旗袍风尚不仅反映了这个时代女性开始摆脱封建宗法势力形象,也是对女性肢体美的颂扬。然而同时,旗袍作为电影中女性符号又有其局限性,它是女性旧势力的折衷妥协,其服饰的审美形态和女性自我审视仍然是男性话语权下的女性观照。本文试从两部20世纪90年代的影片《阮玲玉》和《花样年华》分析大众文化视角中的女性形象。
The cheongsam in the movie, as the symbol of Chinese women, has long existed. The fascination with the female cheongsam in the movie reflects the development of Chinese female consciousness and the expression and self-aesthetic of the female attitude under the patriarchal culture. The current movie cheongsam fashion not only reflects the women in this era began to get rid of the image of feudal patriarchal forces, but also extolling the beauty of the female body. However, at the same time, the cheongsam, as the female symbol in the movie, has its limitations. It is an eclectic compromise between the old females and the aesthetic form of the costumes and the self-examination of the females are still the feminist thoughts under the male discourse power. This article attempts to analyze the female image in the perspective of mass culture from two films of the 1990s, Ruan Lingyu and The Mood for Love.