摘 要 封建父权制度下的女性历史是一部异化史，其终点必将是异化被消除后的自由解放。旧社会礼教对女性的压迫是致命的，传统女性处在一种精神荒原的生存处境中，无法实现自救。通过解读电影《大红灯笼高高挂》和《菊豆》的艺术表现手法，突出两者在关照女性生存空间中的不同视听语言特色，揭示“异化”和“自由”命题在两部电影中的艺术表达。一方面旨在为中西方电影描绘现代社会中底层女性的生存处境，提供有益的艺术借鉴;另一方面批判当下媒介对女性生存表象的袖手旁观态度。唯有当女性真实存在的图景，被镌刻在影像历史的话语中，才有助于为女性的自由与解放获取终极价值。

关键词  异化;自由;影像表达艺术;《大红灯笼高高挂》;《菊豆》

引用本文格式 潘程晨.女性“异化”与“自由”的影像表达艺术研究——以电影《大红灯笼高高挂》和《菊豆》的视听语言解读为例[J].创意设计源，2021（6）：69-75.

Research on the Art of Image Expression of Female "Alienation" and "Freedom"

-Take the Audio-visual Language Interpretation of the Films Raise the Red Lantern and Ju Dou as an Example

PAN CHENGchen

Abstract The history of women under the feudal patriarchal system is a history of alienation， the end of which will be the liberation of freedom after the alienation is eliminated. The oppression of women by the old social rituals was fatal， and traditional women were in a spiritual wasteland， unable to save themselves. By interpreting the artistic expressions of the films "The Big Red Lantern" and "The Chrysanthemum Bean"， we highlight the different audiovisual language characteristics of the two films in their concern for women's living space， and reveal the artistic expressions of the propositions of "alienation" and "freedom" in the two films. On the one hand， it aims to provide useful artistic references for Chinese and Western films to depict the survival of women at the bottom of modern society; on the other hand， it criticizes the current media's indifferent attitude towards the appearance of women's survival. Only when the real existence of women is engraved in the discourse of video history can the ultimate value of women's freedom and emancipation be obtained.

Key Words alienation;freedom; art of image expression; Raise the Red Lantern; Ju Dou

一、女性“異化”的成因与实现“自由”的可能性

（一）女性被异化为客体

异化一词源自拉丁文 alienatio，具有“分离、让给”等含义。波伏娃在《第二性》中认为，女性的历史是在父权制度中被摒弃为“他者”的历史。她直言女性在父权制度中不具有主体性，并且始终都是以客体的角色存在于现实中。女性之所以会被异化为客体，一方面，从史前人类开始，女性就承担生育和抚养幼儿这一劳动分工，这种重复性的自身维护事务与男性狩猎征战活动相比，并不具有优越性，因此，女人易沦为为男性生产活动服务的“他者”。……