Abstracts

From the first road movie Easy Rider, road movie has gained a more and more important status in genre films, reflecting men’s growth in the journey and men’s inner heart. However in 1991’s film Thelma & Louise, director Ridley Scott seems to find another new land for the development of genre films by perfectly combining feminism and road movie. Why does feminism have to wait so long to combine with road movie? What creative point does Thelma & Louise have?  These issues are the focus of latest study of feminism and road movie.

This thesis employs feminist theory and road movie theory as theoretical foundation and mainly focuses on the creative point and limitation of Thelma & Louise. It adopts content analysis and case study as research methods. It first gives a brief introduction about the background of road movie and the achievement of second-wave feminism. Then it analyses the feminism in protagonists and provides a detailed analysis of several male characters in the film. After that, it gives its interpretation of the ending. At last, it tries to connect the film with reality .

Key words: feminism, road movie, patriarch
摘　　要
从第一部公路电影《逍遥骑士》开始，公路电影在世界类型片中占据了越来越总要的地位，反映着男人们在旅途中的成长和男人们的内心世界。但是在1991年的电影《末路狂花》中，导演斯科特完美的将女性主义与公路电影相融合，成功的开辟了公路电影发展的又一片新大陆。但是女性主义为什么在90年代才与公路电影完美结合？当女性主义与公路电影结合之后，又将与传统公路电影有哪些传承和创新的点呢？这些问题都是今年来电影发展和女性主义发展中关注的焦点。
本文以女性主义和公路电影为理论依据，以内容分析和案例分析为研究方法，致力于研究女性主义与公路电影结合的创新点与局限性。本文首先阐述了公路电影的产生背景，以及第二次女权运动的发展状况，然后分析女性主义在《末路狂花》女主角身上的体现，以及对剧中男性角色设定意义的解读，随后指出女性主义在公路电影中表达的局限性，最后为女性主义在公路电影中的发展提出一些建议和看法。
关键词：女性主义，公路电影，男权主义