本文選題：轉(zhuǎn)型　切入點(diǎn)：新生代　出處：《南京師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：新世紀(jì)初期,臺(tái)灣電影開(kāi)始艱難的轉(zhuǎn)型。這一轉(zhuǎn)型一方面與新千年臺(tái)灣地區(qū)政治、經(jīng)濟(jì)、社會(huì)、文化環(huán)境的改變有關(guān),另一方面也是臺(tái)灣電影絕境求生的必然選擇。從臺(tái)灣電影發(fā)展史這一大坐標(biāo)來(lái)看,2000-2004轉(zhuǎn)型期的臺(tái)灣電影無(wú)疑具有承前啟后的意義。產(chǎn)業(yè)的創(chuàng)新與調(diào)整,創(chuàng)作人才的新老交替,全球化與本土化的合縱連橫,身份認(rèn)同的危機(jī)與臺(tái)灣新形象的塑造,使得這一時(shí)期的臺(tái)灣電影不同于以往任何一個(gè)時(shí)期。新現(xiàn)象的出現(xiàn)與新力量的注入帶來(lái)的是新秩序的日漸成形。具體而言,轉(zhuǎn)型期的臺(tái)灣電影在四個(gè)大方向上進(jìn)行了有價(jià)值的探索和發(fā)展。首先,從產(chǎn)業(yè)的角度來(lái)看,處在低谷中的臺(tái)灣電影通過(guò)新興力量的注入、市場(chǎng)的拓展、目標(biāo)受眾的開(kāi)發(fā)而呈現(xiàn)出與以往不同的樣貌。其次,轉(zhuǎn)型期的臺(tái)灣新生代電影人通過(guò)重建電影的商業(yè)意識(shí)和向新電影告別的姿態(tài)開(kāi)始了從“作者電影”向“觀眾電影”的轉(zhuǎn)變。第三,在日漸成為主流制作模式的跨國(guó)／跨區(qū)域電影中,新世紀(jì)伊始的臺(tái)灣電影呈現(xiàn)出全球化與在地化交互吸融的特征。第四,全球化帶來(lái)了身份認(rèn)同的危機(jī),同時(shí)也提供了重建本土身份的可能性,轉(zhuǎn)型期的臺(tái)灣電影通過(guò)對(duì)青春、自然與地方感的強(qiáng)調(diào),初步形成了一個(gè)全新的臺(tái)灣形象。
[Abstract]:At the beginning of the new century, Taiwan films began to undergo a difficult transformation. This transformation is related on one hand to the changes in the political, economic, social and cultural environment of the Taiwan region in the new millennium. On the other hand, it is also an inevitable choice for the survival of Taiwan's film industry. From the perspective of the history of Taiwan's film development, there is no doubt that the period of transition from 2000 to 2004 has the significance of connecting the past with the future. The innovation and adjustment of the industry and the replacement of creative talents with the old are no doubt. Globalization and localization, the crisis of identity and the shaping of Taiwan's new image, Taiwan films in this period are different from any other period in the past. The emergence of new phenomena and the injection of new forces have brought about the gradual formation of a new order. Specifically, In the transitional period, Taiwan films have made valuable explorations and developments in four major directions. First, from the industrial point of view, Taiwan films in the valley are being injected with new forces and the market has expanded. The development of the target audience presents a different look than before. Secondly, The new generation of filmmakers in Taiwan in the transitional period began the transition from "author's film" to "audience film" by rebuilding the commercial consciousness of the film and the gesture of farewell to the new film. Third, In the transnational / cross-regional films, which are becoming the mainstream production mode, the Taiwanese films at the beginning of the new century show the characteristics of globalization and the interaction between the local and the local. 4th, globalization has brought about the crisis of identity. At the same time, it also provides the possibility of rebuilding the local identity. Through the emphasis on youth, nature and local feeling, the Taiwan film in the transitional period has initially formed a new Taiwan image.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J909.2

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本文編號(hào)：1618620