我所拍的几个电影,像《胭脂扣》《人在纽约》《地下情》《阮玲玉》《红玫瑰与白玫瑰》,都被视为一个女性电影导演的女性作品,那银幕上的女性真是我的化身吗?——关锦鹏《男生女相:中国电影之性别》(1997)“缪斯”一词在现代主义之后的文化生产中常被用来方便地指代对(尤其是)男性创作者的创作具有启发性、或在其作品中“熠熠生辉”的女性形象。男性导演对于某一类女性形象或叙事的执着总能引发观众对其背后的心理机制饶有兴致的揣测,譬如杨福东的“新女性”、小津安二郎电影中原节子的角色、谢晋导演的女主角等等,究竟 My films, such as Rouge Button, People in New York, Underworld, Ruan Lingyu, Red Rose and White Rose, are all considered female works by a female film director. The women on the screen - Kwan Kam-peng, “Male Womens Gender: The Sex of Chinese Films” (1997). The term “muse” is often used in cultural production after Modernism to refer to, inter alia, The creation of a male creator is instructive, or a “glittering” image of women in their work. Male directors for a certain type of female image or narrative perseverance can lead to the audience’s psychological mechanism behind the great speculation, such as Yang Fudong’s “New Woman”, Ozu Yasujiro movie in the original section of the role of the teacher, director Xie Jin Actress and so on, after all