作为一名电影人和一个女人
As a filmmaker and as a woman,
我发现自己浸没于视觉语言的强力漩涡中
I found myself drowning in a powerful vortex of visual language,
非常难以逃离
from which it is very difficult to escape.
劳拉 你在听吗？
[Woman on phone] Yeah, Lara, are you there?
我只是坐在这 想听到你的消息
I’m just sitting here hoping to hear from you,
我才不管是不是凌晨三点
I don’t care if it’s three o’clock in the morning
因为…我思前想后
because, I’ve been thinking about all the things
想了所有可能因此发生在你身上的事
that could possibly happen to you because of this,
而我不希望你
and I don’t want you to ruin
因此毁了自己整个表演生涯
your whole acting career over it.
他们只需要打给演员工会
You know, all they have to do is call SAG
说你在扯谎 那从今往后
and pull your card and from now on,
你这一辈子
for the rest of your life,
你就会因为有污点而找不到工作 一切就都完了
you’ll come up not cleared for work and that’s the end.
基于讲座：
性与权力：电影的视觉语言
讲者：尼娜·门克斯
这种视觉语言 电影的视觉语言
[Nina] This visual language, this cinematic visual language,
支配着我们观看的方式
dictates to us ways of seeing
它如此具体明确 几乎像是种法则
that are so specific, it almost feels like a law.
知名作家詹姆斯·鲍德温曾说过：
The great writer James Baldwin once said,
“不是所有事物都可改变”
“Not everything can be changed,
“但唯有直面事物 才能有所改变”
but nothing can be changed until it is faced. ”
我们今天要做的 就是观看一系列电影片段
What we’re gonna do today is look at a series of film clips
来源包括一线影片
from A list movies,
赢得过金棕榈或奥斯卡的影片
the ones that win Cannes and the Academy Awards,
还有CULT经典作品 以及其他值得一提的电影
as well as cult classics, and other notable works.
而我们要考察的是 镜头设计的性别化差异
And what we’re looking at is how shot design is gendered.
即：男主演和女演员
That means that male lead actors and female actresses
被拍摄的方式截然不同 且一贯如此
are filmed very differently, consistently
而这种截然不同且一贯如此的现象
differently and consistently in a certain way
是能够被打上标签 追踪和命名的
that can be labeled and tracked and named.
我个人能看到以下几件事的清晰关联：
Now, I personally see a very clear connection
电影的视觉语言
between this visual language of cinema,
针对女性的就业歧视
employment discrimination against women,
——尤其是在电影行业——
particularly in the film industry,
以及性骚扰 性侵害广泛存在的大环境
and an environment of pervasive sexual harassment abuse and assault.
去年我得到机会见到了劳拉·穆尔维
I had the chance to meet Laura Mulvey last year,
——“元老级大佬”电影理论家
the “Original Gangster” film theorist
她为我们指认出了男性凝视
who identified the male gaze for all of us.
我其实只在论文中用到了一次男性凝视
I only actually used the male gaze once in the essay,
但它现在成为了一种主流说法
I think, but it’s become its dominant memory.
那篇论文其实是出于我对电影的热爱写就的
The essay really came out of my love of cinema.
1963年离开大学后
Well, having left university in 1963,
我花了很多时间狂看电影
I really spent a lot of my time just going to the movies.
但仅在回顾时 我才意识到 我一部分的…
Only retrospectively realizing that part of my pleasure
观影快♥感♥ 来自于我是以男性观众的视角
in this film going, was that I was watching these movies
看的那些电影
as a male spectator.
我们所有人几乎都很熟悉这个说法：
Almost all of us are familiar with the phrase
对女性的客体化（物化）
the objectification of women,
但这依然值得我们花时间做一番分♥析♥
but it’s worth taking a moment to break that down.
到底什么是“客体”？什么是“主体”？
What exactly is an object and what is a subject?
我们先回看一下基础语法
So let’s get back to basic grammar
比如这句英语句子：
in like an English sentence for a second.
猫吃耗子
The cat eats the mouse.
猫是主体
The cat is the subject,
他在吃耗子
he’s eating the mouse,
而客体（耗子）被施加（吃的）动作
the object is acted upon.
类似的说法是：男人看女人
Similarly, the man sees the woman,
男人主动做出观看动作
the man is active doing the looking
女人则被观看
and the woman is looked at.
她来了
Here she comes.
我们想听你的声明 女士…
We’d like a statement from you
这种“被观看”的说法
[Nina] This phrase to be looked at ness
众所周知 即由劳拉·穆尔维于1975年提出
was made famous by Laura Mulvey back in 1975
用于描述女性在电影中的基本本质地位
and used to describe the basic essential position of women in cinema.
那条裙子从今往后会领先时尚一百年！
That dress will be ahead of fashion in a hundred yearsfrom today.
你们还什么都没见识到呢
You ain’t seen nothing yet.
配饰更可爱
The accessories are even cuter.
我能听见河流的呼唤
♪ I can hear the river call ♪
不复归 不复归
♪ No return, no return ♪
随着时间的推移 女性的身体
[Nina] Through time, the woman’s body
被越来越性化
becomes more and more sexualized,
但“观看”这一基本结构始终未变
but the basic structure of looking remains the same.
即使穆尔维是在七十年代
Even though Mulvey’s foundational work
写出那些奠基式文论的
was written in the 70s,
我们如今仍将电影中的男性凝视视为寻常
we still totally normalize the male gaze in cinema.
我想多数人
You know, I think the majority of people
从未质疑过那种观看的形式
don’t ever really question that form of looking.
因为它太寻常了 就好像问鱼身上湿不湿一样
It’s so normal it’s like the idea of a fish asking if it’s wet.
这是那种：我觉得你想过…
It’s the stuff that I think you thought,
我可能也想过 人人都心知肚明的事
and maybe I thought, well, everybody knows this,
它在以太之中 但它就是以太
it’s in the ether, but it’s the ether.
因此为之命名和将其加以展现 就是一种…
And so to name it and to show it is, you know,
我相信可以改变世界的做法
something that I believe can change the world.
诗人兼哲学家拉尔夫·沃尔多·爱默生
The poet philosopher, Ralph Waldo Emerson
曾发过一段优美议论 我觉得非常适合…
once made a beautiful remark that I feel speaks very well
这种情景
to the situation.
他说：“感知不是一时异想天开 它生死攸关”
He said, “Perception is not whimsical, but fatal. ”
就像人们常说
You know, this is something that people like to say,
觉得创作和电影是异想天开
like they think creative work and films are whimsical.
只是个人的构想 个人的主意 是一时异想天开
It’s just my vision. It’s just my idea. It’s whimsical,
但其实不是 它非常严肃
but no, it’s really serious.
它生死攸关 且在最深刻的层面上影响了我们
It’s fatal, and it impacts us on the deepest possible level.
作为电影人 我们必须无畏
As filmmakers we have to be courageous
并愿意成为那股力量
and be willing to be that force.
愿意说出脑中所想
Willing to speak our minds,
愿意说出：嘿 等等
willing to say, hey, wait a minute,
这部电影怎么回事？
what’s wrong with this picture?
你要告诉我什么？
What are you telling me?
我们看到的视觉修辞手法是什么？
What’s the visual rhetoric that we’re looking at?
它不让人愉快 也不让人觉得合适
It doesn’t feel good. It doesn’t feel correct.
我们来重新思考一下
Let’s rethink this.
我觉得有时 面对那些被奉为圭臬的…
I think sometimes with films that are considered
影史经典 或者…
part of the canon part of, you know,
所谓“最电影”的电影
what are the best quote unquote films,
会有一种回避质疑的倾向 比如质疑它们的制♥作♥方式
there is a reticence to even question, how they were made
以及它们讲述的故事
and the stories that they tell.
而我觉得你完全可以依然热爱和去观看电影
And I think that it’s okay to still love and to see a film
然后说：电影很棒
and say, it’s great,
但它存在缺陷
but that it has some issues.
我想 如果不去质疑
And I think without questioning it,
那其实是在损害我们自己的人性
we’re doing a disservice to our own humanity.
你们中多数人可能都意识到
Now most of you guys are probably aware
剧本 对白和角色设定中有性别歧视元素
of the idea that there’s a sexist element to script, dialogue and character.
我们都已意识到 我们不想看到女人老是出演…
You know, we know that we’d prefer not to see women
女仆或者性感宝贝
always playing a maid or a sexy babe,
更想看她们演女高管之类的角色
as opposed to being a CEO or something like that.
这种观念现在已经深入人心
That’s something that we’re well acquainted with.
但不那么为人所熟知的是 电影的镜头设计本身
What’s less well known is how shot design itself
都在固化这种包含性别差异的权力关系
is perpetuating these different positions of power.
我们说到镜头语言时
So when we talk about shot design,
到底是在说什么？
what exactly does that mean?
我们会谈到主体 客体
We’re talking about subject, object,
视觉关系
the visual relationship,
构图 运镜和布光
framing, camera movement, and lighting,
以及所有这些手法
and how all of these techniques
是如何共同奠定角色叙事地位的
contribute to the narrative position of the characters.
第一项便是主体和客体
So the first thing is subject, object.
看到这样的构图时
When we see a shape like this,
我们知道这个男人正在看…
we know it means that this guy here is looking
这边的这个人
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