¤å¾Ç§åµû­º­¶   /  Gender Studies ©Ê§O¬ã¨s  /  ²z½×®a  /  Laura  Mulvey  ÅÚ©Ô¡E²öÁ¨
Laura  Mulvey
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ÃöÁä¦rµü¡Gvoyeurism; Scopophilia; cinema

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Laura Mulvey

 

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        ÅÚ©Ô.²öÁ¨1941¦~¥X¥Í©ó­^°ê¤û¬z¨Ã©ó1963¦~²¦·~©ó¤û¬z¤j¾Ç¾ú¥v¨t¡C¥Ø«e¦b­Û´°¤j¾Ç±Ð±Â¹q¼v»P´CÅé¶Ç¼½¡C²öÁ¨¦]¬°¨ä½×¤å ¡Õµøı§Ö·P»P±Ô¨Æ¹q¼v¡Ö (¡§Visual Pleasure and Narrative Cinema¡¨) ¦ÓÁn¦W¤jļ¡A¦Ó¦¹½g½×¤å¤]³Qµø¬°¤k©Ê¥D¸q¹q¼vµû½×¤§¤@¤j³ÐÁ|¡C¼g¹q¼vµû½×ªº¦P®É¡A²öÁ¨¥ç»P¨ä¤ÒPeter Wollen©ç¹q¼v¡A¦³ Penthesileia: Queen of the Amazons (1974), Riddles of the Sphinx (1977), Amy! (1980), Crystal Gazing (1982),»P The Bad Sister (1983)¡C¦oªº§@«~¤]©IÀ³¨ä½×¤å <µøı§Ö·P»P±Ô¨Æ¹q¼v>¸Ì©Ò°Q½×¥B¬D¾Ôªº¤k©Ê©ó¹q¼v¤¤³Q¾®µøªº«ººA¡C

 

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<µøı§Ö·P»P±Ô¨Æ¹q¼v> (¡§Visual Pleasure and Narrative Cinema¡¨)

         ²öÁ¨©ó1973¦~§¹¦¨¡Õµøı§Ö·P»P±Ô¨Æ¹q¼v¡Ö¤@¤å¡A¨Ã©ó1975¦~µoªí©ó­^°êªº¹q¼v´Á¥Z¡m Screen¡n¡C¦¹½g½×¤å±Nºë¯«¤ÀªR¾Ç»¡¡A¦p¥±¬¥¥ì¼w(Sigmund Freud)ÁÙ¦³©Ô©£ (Jacques Lacan)ªº²z½×¡A±a¤J¹q¼v¤ÀªR¸ÌÀY¡C·íµM¡A²öÁ¨¨Ã«D²Ä¤@¦ì±Nºë¯«¤ÀªR±a¤J¹q¼v°Q½×ªº¡A¦ý¦o±Nºë¯«¤ÀªR¡B¹q¼v²z½×¡B¥H¤Î¤k©Ê¥D¸q¤TªÌ¿Ä¦X¦¨¤@Å鬰¨ä¿W¨ì¤§³B¡C²öÁ¨¦b¥»¤å´£¥X¹q¼v¤¤ªº¤TºØ¾®µø¡G1. Äá¼v¾÷ªº¾®µø 2. ¨¤¦â¶¡ªº¬Û¤¬¾®µø 3. Æ[²³ªº¾®µø¡C²öÁ¨»{¬°¦nµÜ¶õ¥u±j½Õ²Ä¤TºØ¾®µø¡A¤]´N¬OÄÝ©ó¨k©Ê¥DÅ骺¦ì¸m¡C¦b¡Õµøı§Ö·P»P±Ô¨Æ¹q¼v¡Ö³Ì­«­nªºÆ[©À§Y¡u¨k©Ê¾®µø¡v(Male Gaze)¡C

        ²öÁ¨¦b¤å¤¤«ü¥X¡A©Ê§Oªº®t²§»P¤£¥­µ¥¤£¶È·|¥X²{¦b¹q¼vªº¤º®e©M¥DÃD¤W¡A¾ã­Ó¹q¼v¾÷¨î(apparatus)¡A§Y¨å«¬ªºÆ[¬Ý¤è¦¡¡A³£¦s¦bµÛ³oºØ®t²§¤Î¤£µ¥¡C¥»¤å­z»¡¦b¶Ç²Î¥D¬y¦nµÜ¶õ¹q¼v¤¤¡A¤k©Ê¬O¦p¦ó¦¨¬°¨k©Ê¾®µø¤Uªº¤@³Q°Ê«ÈÅé¡C³z¹Lºë¯«¤ÀªR²z½×¡A²öÁ¨»{¬°¬O¨k©ÊªºµL·NÃѫغc¤F³oºØ±¡¦â·R¼¤ªºÆ[½à§Ö·P¡C¤£¹L²öÁ¨©Ó»{¡Aºë¯«¤ÀªR¨Ã¤£¯à¸Ñ¨M©Ê§O¤§¶¡ªº¤£¥­µ¥¡A¤]µLªk²×¤î¤k©Ê©Ò¨üªºÀ£­¢¡A¦ý²öÁ¨±j½Õ¡Aºë¯«¤ÀªR´£¨Ñªº¬O¤@ºØ¦³¥Îªº¬Fªv¤u¨ã¡A¥H¥Î¨ÓÃÒ©ú³oºØ¨É¼Ö¾÷¨î¬O¨Ì¿à©ó¤k©Ê¦b¹q¼v¤¤ªº³Qª«¤Æ»P³Q¾®µø¡CÁ`¦a¨Ó »¡¡A²öÁ¨«ü¥X¤k©Ê¦b³o­Ó¨î«×¤Uªº§Î¶H¦³¤G¡A¤@¬°¨k©Ê¾®µø¤Uªº«ÈÅé¡A¨k©Ê¼¤±æªº¥Ø¼Ð; ¤G¬°¤k©Ê¬°ìI³Î«Â¯Ùªº·N²Å (signifier) ¡C

        ­º¥ý¡A²öÁ¨´£¥X¹q¼v´£¨ÑÆ[ªÌ¨âºØ¤¬¬Û¥Ù¬Þªºµøı¨É¼Ö¡G¤@¬°¥±¬¥¥ì¼w©Ò´£ªº¡uµø²]¡v(scopophilia)¡A¥±¬¥¥ì¼w´£¥X¤H­Ì«Ü¨É¨ü±N¥LªÌ¤Æ¬°³Q¾®µøªº«ÈÅé¡A¨Ã¥Î¨ä¾®µø±±¨î«ÈÅé¡C¤G¬°³z¹LÃþ¦ü©Ô©£©Ò´£¥XªºÃè¹³¶¥¬q²z½× (mirror stage) ¡A¤H­Ì¥H¦ÛÅʪº¼h­±¨Óµo®iµø²]¡C²öÁ¨¶i¤@¨B«ü¥X¡A¶Ç²Î¬y¦æ¹q¼vÀô¶µÛ¨â­Ó®É¨è¡G±Ô¨Æ®É¨è»P©_Æ[®É¨è¡A¦Ó±Ô¨Æ®É¨è»P¥D°Ê¨k©Ê¦³Ãö¡A©_Æ[®É¨è«h»P³Q°Ê¤k©Ê¦³Ãö¡C¨k©ÊÆ[²³·|©T©w¨ä¾®µø©ó¨k¥D¨¤¨­¤W¡A§Y¼v¤ù¤¤ªºÆ[¬ÝªÌ¡A¨Óº¡¨¬¦Û§Úªº§Î¦¨¡C³oºØ¾®µøÃö«Y©IÀ³¤]¬O©Ô©£©Ò´£Ãè¤l«e¤§¿ë»{¡]©Î¬O»~¿ë¡^®É¨è¡C©_Æ[ªºÆ[¬Ý«h¬MÃÒ¤F¤k©Ê«ÈÅ骺¦ì¸m¡]©Ê«ÈÅé¡^¡C

        ¬°¤Fº¡¨¬§Ö·P¼¤±æ¡A¤S·Q°kÂ÷´o¤H¤£´r§Öªº­ìªì¥h¶Õ¸gÅ礣Â_ªº­«ºt¡A¦¹®É¨k©Ê¦³¨â±ø¸ô®|¨Ó¸Ñ²æ¥H©è¹F»{¬°¦w¥þªº±¡¹Ò¡G¤@Âǵ۰½¿s¹ï­ìªìªº³Ð¶Ë®É¨è®i¶}¸ÔºÉªº½Õ¬d¡A¦Ó«P¦¨¹ï¦³¸o«ÈÅ骺Ãg»@¡B¶S§í©Î¬@±Ï¡A²öÁ¨¥Î¶Â¦â¹q¼v¨ÓÃÒ©ú¦¹»¡; ¤G¬°§¹¥þªº§_»{ìI³Î¨ÃÂǵÛÅʪ««ÈÅé¥H´À´«¤§¡A©Î±N¦A²{ªº¹ï¶H¤Æ¬°Åʪ«¹ï¶H¡C²öÁ¨¥Î¤k¬P±R«ôªº²{¶H¨Ó¦LÃÒ¦¹»¡¡A«ü¥X±¡¼¤ªºÆ[¬Ý´C¤¶±q¨k¤HÂà´«¦ÜÄá¼v¾÷©Ò´£¨Ñªº¤£¶·´C¤¶ªº¯Âºé±¡¼¤Æ[¬Ý¡A¦p¯S¼g¤k©Ê¬Y¨Ç³¡¦ì¡A¦Ó³o´N¬O©Ò¿×ªº©_Æ[®É¨è¡AÂǦ¹¨k©Êªº¥h¶ÕµJ¼{³Q¦w¼¾¡A¦³ºØ¦w¼¢·P¼¾¤§¡C²öÁ¨ªºµ²½×§YºR·´³oºØ¨Ï¤k©Ê¦¨¬°«ÈÅ骺¨î«×¡A¤~±o¥H¹ý©³¸Ñ©ñ¤k©Ê¡C

 

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        §Y¨Ï²öÁ¨¤j¤O¹ª§jºR·´¦nµÜ¶õ³q«U¹q¼v¬J¦³ªº¨î«×¥H¸Ñ©ñ¤k©Ê¡A³\¦h¾ÇªÌ¤´µM»{¬°²öÁ¨ªº½×­z¹ê»Ú¤WÁÙ¬Oµe¦a¦Û­­¡C¥L­Ì«ü¥X²öÁ¨ªº½×­zÁÙ¬O¨ü¨ì¤÷ÅvÅé¨îªº±±¨î¡A¦]¬°²öÁ¨©Ò»{©wªºÆ[¬ÝªÌ¶È­­©ó²§©ÊÅʨk©Ê¡A¦Ó§¹¥þ©¿²¤¤F¤k¦P©Ê   ÅÊ ¡A¨k¦P©ÊÅÊ»PÂù©ÊÅÊ¡C¥t¤]¦³¾ÇªÌ«ü¥X³q«U¹q¼v­n¥H§¹¥þ¤k©Ê¤Æ¨ÓÆ[¬Ý©çÄá¹q¼v®Ú¥»¤£¥i¯à¡C¤k©Ê¥D¸q§åµû®aGaylyn Studlnar§ó´£¥X»P²öÁ¨§¹¥þ¤£¦P½Õªº½×ÂI¡A»{¬°Æ[ªÌªºµøı§Ö·P¬O³Q°Êªº¡B¦Û­h¨g¦¡ªº¡A¦Ó¤£¬O²öÁ¨©Ò´£¥Xªº¥D®_¦¡ªº¡B¦³¤Oªº¡B§í©Î­h«Ý¨g¦¡ªºµøı§Ö·P¡C

 

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°Ñ¦Ò®Ñ¥Ø

Leitch, Vincent B., ed. The Norton Anthology of Theory and Criticism. New York: Norton, 2001.

 

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¬ÛÃöºô¯¸

http://en.wikipedia.org/wiki/Laura_Mulvey

https://wiki.brown.edu/confluence/display/MarkTribe/Visual+Pleasure+and+Narrative+Cinema

http://www.arasite.org/mulvey.htm

http://en.wikipedia.org/wiki/Gaze

 

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¥»½×¤å¥H¨k©Ê/¤k©Ê¾®µøªº¿ëÃÒ·§©À¡A¬ã¨s±Z¦è³·¦òÄõ(Tracy Chevalier)¥Hºû±öº¸(Johannes Vermeer)ªº¦Wµe¡mÀ¹¬Ã¯]¦ÕÀôªº¤Ö¤k¡n¬°ÂÅ¥»ªºµêºc¤p»¡¤¤¤Q¤C¥@¬öµe®aªº¦Û¥Ñ·N§Ó»P¥~¦b¼vÅTªºÃö«Y¡C²Ä¤@³¹À³¥Î¥¬¾|§J´µ(Peter Brooks)ªº²z½×¡A¥H«I¥ÇÁô¨p(invasion of privacy)»P¦b¨­Åé¤W°µ°O¸¹(signing on bodies)¨â­Ó¤èªk¡A¦õ¥Hºû±öº¸§@¦¹µeªº§Þ¥©»P«á¤Hªº¸àÄÀ¡A¤@¨B¨B±Nµe¸ÌÀR¤îªº¤k«ÄÂàÅܦ¨¥Í°Êªº¤p»¡¥D¨¤¸¯¨½¸­(Griet)¡F¨Ã¥Ñ¦¹¹Lµ{±o¥X«I¥Ç»P¤Ï§Üªº¿ëÃÒÃö«Y¡A©ó²Ä¤G³¹¸Ì±a¤J²öÁ¨(Laura Mulvey)ªº¨k©Ê¾®µø(male gaze)²z½×¸Ì¡A¸Õ¹ÏÃÒ©ú¤k©Ê¾®µø(female gaze)ªº¦s¦b¡C¦P®É¡A¨k©Ê¾®µø©Ò¥Nªíªº¤÷ÅvÀ£¨î¡A´N¦p¦P·í¥NÃÀ³N¼é¬y¡A©Îµe®aÃÙ§UªÌ¹ïµe®aªº¼vÅT©Î­n¨D¡Cµe®a¦Û¥Ñ·N§Óªº¤Ï§Ü¡A¦p¦P¨üÀ£­¢ªº¤k©Ê©Ò°µªº¦^µø¤@¼Ë¡C²Ä¤T³¹´£¥X¤Ï¹ï²öÁ¨ªº¤k©Ê¥D¸qªÌ­Ì¡A¥]§t¤F¥d´¶Äõ(E. Ann Kaplan)»P­ð¦w(Mary Ann Doane)©Ò¥D±iªº¤k©Ê¾®µø²z½×¡AÅý¤p»¡¤k¥D¨¤¸¯¨½¸­¤@¤@¦^À»¦o©Ò¨ü¨ìªº¨k©Ê¾®µøªºÀ£­¢¡AÃÒ©ú¤k©Ê¾®µø¦³©ºªA¨k©Ê¾®µøªº¥i¯à¡A¥ç§Yµe®aªº¦Û¥Ñ·N§Ó¯à¤£¨ü¥~¦b¼vÅT¦Ó«O¦³¦Û§Ú­·®æ¡Cµ²½×¸Ì¤ñ¸û¤p»¡»P©ó2003¦~¤W¬M¡A§ï½s¦Û¤p»¡ªº¹q¼v¨âª©¥»°µÁ`µ²¡C

 

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¥»¤å¥H¹Ïµe®Ñ¬ü¾Ç¡B¤k©Ê¥D¸qÆ[ÂIÀ˵ø¤Ú¨©¡E¬_º¸¡]Babette Cole¡^¤å¥»§e²{¤§©Ê§OijÃD¡A´Nµ£¸Ü§ï¼gÃD§÷¡B©Ê¼¤¨ú¦V¡B¨­Åé·N¶H¤Î©Ê§O¤À¤uµ¥¼h­±¡A¨Ì¦¸±´°Q¤å¥»¦p¦ó³B²z©Ê¡B©Ê¼¤»P¨­Åé¤TªÌÁc½Æ¥æ¿ù¤§Ãö«Y¡A¤Î­I«á©ÒÄ­§tªº©Ê§O·NÃÑ«¬ºA¡C¬ã¨sµo²{¤Ú¨©¡E¬_º¸¤´¥H¡u³æ¤@©Ê¦V¼Ò¦¡¡v¡]mono-sexual paradigm¡^§@¬°½×­z°ò½Õ¡A¦¹¹w³]­ÓÅé¬Ò¦³¤@©T©w¡B¥Ã¤£Åܧ󪺩ʨú¦V¡A¨ÃµL¹üÅã©Ê§O¤¤­ÓÅ鱡¼¤¬y°Ê¤Î©Ê§O¨­¥÷¦h¤¸¤Æ¤§¥i¯à¡C¦¹¥~¡A¬ã¨sªÌ¥HÅÚ©Ô¡E²öÁ¨¡]Laura Mulvey¡^¡qµøı§Ö·P»P±Ô¨Æ¹q¼v¡r¾®µøÆ[ÂI¡AÀ˵ø¤Ú¨©¬_º¸¹ï¤å¥»¨¤¦â¨­Åé·N¶H¤ÎªA¸Ë²Å½X¤§³B²z¡A¨ä¶Ç¹FªÀ·|¦óºØ³W°V·NÃѤΩʧO¼Ë»ª¡H¬ã¨sµo²{¡A¨ä½×­z¦A²{¨k¥D°ÊÆ[¬Ý/¤k³Q°Ê®i¥Ü¤§µø²]¡]scopophilia¡^¤G¤¸¹ï¥ß¼Ò¦¡¡A¥H©Ê¼x¤ÎªA¸Ë±j¤Æ­ÓÅ餧¡u©Ê§O¤Æ¨­Åé¡v¡A¶i¦Ó¥H¡u¥Í²z¨M©w½×¡vÆ[ÂI¾d©T²§©ÊÅʮ֤߮a®x¤§·NÃÑ«¬ºA¡C

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