ABSTRACT

La Vie d’une autre marks Sylvie Testud’s entry into the domain of directing. The film is loosely based on a novel of the same title and deals with the trauma of memory loss and the quest to recuperate the original self. It centres on a forty-one-year-old female protagonist, Marie Speranski (played by Juliette Binoche) who awakens one day to discover that she cannot remember anything of the previous fifteen years of her life. Bit by bit, Marie has to piece together her identity, coming to the painful realization that the woman she has grown into has nothing in common with the self that she remembers. The aim of this article is to analyse La Vie d’une autre against the backdrop of postfeminist retraditionalism. By employing such a theoretical frame, it quickly becomes clear that the working mother at the centre of La vie d’une autre is being subjected to anarrative of correction whereby the meaning and value of work in the heroine’s life is gradually discredited or, at least, rendered secondary to marriage and motherhood.

摘要

La Vie d'une autre标志着 Sylvie Testud 进入导演领域。这部电影大致根据同名小说改编，讲述了失忆的创伤和恢复原始自我的追求。它以一位 41 岁的女主人公玛丽·斯佩兰斯基（朱丽叶·比诺什饰）为中心，她有一天醒来，发现自己对过去 15 年的生活一无所知。玛丽不得不一点一点地拼凑自己的身份，痛苦地意识到她成长为的女人与她记忆中的自我毫无共同之处。本文的目的是分析La Vie d'une autre在后女权主义传统主义的背景下。通过采用这样的理论框架，很快就可以清楚地看出，位于《La vie d'une autre 》中心的职业母亲正在接受一种纠正叙述，从而使女主人公生活中工作的意义和价值逐渐被抹黑，或者至少是, 次要于婚姻和母性。