欲戴皇冠，必承其重 ：论电视剧《武媚娘传奇》中的武则天形象及女性身体政治 = Female body politics and a new representation of Empress Wu in television drama series the empress of China
黄芳 Huang, Fang
Date of Issue2016
School of Humanities and Social Sciences
武则天作为一个原型，在 20 世纪后的文学作品中依然构成一个独特的改写现象，以致她的形象不断地演变。本论文着重整理并分析了以宋之的、郭沫若、苏童以及赵玫等作家的现当代文学创作，从中揭示武则天在两性作家笔下丰富的个人形象以及背后的意识形态。另外，文学创作的多面性给予影视作品更多的演绎空间。近期，引起大众关注的莫过于电视剧《武媚娘传奇》中新的武则天形象。作为备受观众热捧的宫廷剧，剧中削弱对女皇武则天权力的᧿写，取而代之的是武则天与唐太宗和唐高宗三人之间的爱情神话。武则天形象被重新诠释以及剧中的情感᧿写，让观众看到她女性化的一面。这是影视作品近年来在题材上的改变，转而制作以女性元素为主的电视剧的缘故。然而，大多数作品的背后仍然坚持着传统的性别文化标准。因此，本论文将探讨电视剧《武媚娘传奇》对女性身体的消费和规训，探究影视作品在性别建构上的通病。Empress Wu is an archetype in literature works. The themes surrounding her representations formed a special literary rewriting phenomenon in the twentieth century, which subsequently led to a continuous evolution of her image. This paper analyzes Modern and Contemporary Literature written by Song Zhidi, Guo Moruo, Su Tong and Zhao Mei, revealing Empress Wu’s diverse images under these writers and the ideologies behind it. Recently, the new representation of Empress Wu in the television drama series The Empress of China has caught the attention of the public. As touted by the audience, this drama series replaces the powerful image of Empress Wu with a love myth between Empress Wu and Emperor Taizong as well as Emperor Gaozong. The change in film theme and emotional description shows the audience the feminine side of Empress Wu. This re-interpretation of Empress Wu’s image is due to the changes in themes of television drama series in recent years. Specifically, television drama series now place more focus on female elements. However, the majority of film and television work still insist on the traditional gender culture. Therefore, this paper will focus on analyzing the consumption and disciplinary power on female body in The Empress of China, and explore the common problem in gender construction behind it.
Final Year Project (FYP)
Nanyang Technological University