摘要

在二十世纪九十年代好莱坞出品的爱情喜剧中，最引人注意的无疑是由奥斯卡影后茱莉亚•罗伯茨主演的《风月俏佳人》 。影片所讲述的灰姑娘、茶花女式的套路故事毫不出奇，但巨大票房成功却证明了大众对它的认可与喜爱。好莱坞商业喜剧片正是美国大众文化的重要组成部分，且片中所展现的文化、阶级、种族、性别等社会因素也正是文化研究的重点。
本文将参考借鉴批评家费斯克、哲学家阿尔都塞、符号学家罗兰巴特的研究成果，以文化研究的视角和符码分析手段对电影《风月俏佳人》进行延伸性解读，探讨现实世界符码、技术手段符码和意识形态符码三个层面之间的关系，揭示电影表层内容作为一种符码体系在特定文化中的意识形态意义。
文章首先介绍影片背景及内容，其次简单阐述阿尔都塞的意识形态理论、费克斯的符码分析模型，建立起全文理论基础及分析模式，再选取影片中部分符码进行细致解析，充分展现它们在符码体系中所暗含的阶级、性别、种族等方面的意识形态含义。

关键词：文化研究，好莱坞商业电影，符码，意识形态

Abstract

Along with the boom of the film and television industry, researchers in the field of cultural studies have developed an interest in the two media as significant objects of analysis. Among the scholars who focus on studying the political side of culture, media critic John Fiske first applied semiotic model to the analysis of how ideological codes of American society are represented in television programs.
This thesis adopts the semiotic model set up under the influence of Roland Barches’ semiological theory to explore the ideological codes presented in the 1990 Hollywood romantic comedy film Pretty Woman. Specifically, it focuses on analyzing the social and technical codes embedded in the film which convey invisible ideological messages and exploring the relationship between them. The method applied to the anatomy of the film is largely acquired from media scholar John Fiske’s semiotic model and Roland Barthes’ semiological theory.

Key words: cultural studies, Hollywood commercial films, code, ideology

1  Introduction
Just as the celebrated American author Gore Vidal (1992) says, “Movies are the lingua franca of the twentieth century”. Evidently, His words point out the fact that films are generally considered to be one of the dominant forms of popular culture in the United States. Films as lingua franca connote not only social codes presented on the screen but also the ideological codes operating in a certain social context.
Pretty Woman，written by J.F. Lawton and directed by Garry Marshall, is a 1990 Hollywood romantic comedy film. The film Won the 48th Golden Globe Awards and made its heroine Julia Roberts a superstar. It is a mixture of Pygmalion myth (particularly George Bernard Shaw’s play of the same name) and Cinderella fairytale. A call-girl Vivian encounters a millionaire Edward—it is not a “to meet, to know, to love, then to part” romance poetized by Samuel T.