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  本文選題：臺灣女導(dǎo)演　切入點：大陸女導(dǎo)演　出處：《重慶大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：新千年以來，臺灣電影業(yè)持續(xù)低迷。自臺灣新電影運動之后，優(yōu)秀導(dǎo)演的數(shù)量下滑，作品質(zhì)量也參差不齊，不成體系。與此相伴隨的是，投資者對臺灣電影市場多持駐足觀望的態(tài)度，而資金的缺口更加重了臺灣電影的產(chǎn)業(yè)困境，令電影人的突圍越發(fā)艱難。在這種歷史境遇之下，一批優(yōu)秀的臺灣女導(dǎo)演從電影工業(yè)的蟬蛹中破繭而出，她們以群體姿態(tài)出現(xiàn)于臺灣影壇，為沉寂的臺灣電影業(yè)注入了一股清新的空氣，成為臺灣電影文化生態(tài)中一道不可忽視的風(fēng)景。 自上世紀(jì)七十年代女性平權(quán)運動發(fā)生以來，世界各國紛紛涌現(xiàn)出大量的女導(dǎo)演。但隨著時間的推移，受各國政策、戰(zhàn)爭、信仰、歷史、文化等諸多原因的影響，目前能在本國形成具有影響力的女導(dǎo)演群體的國家和地區(qū)已屈指可數(shù)。臺灣能夠有數(shù)量穩(wěn)定的女導(dǎo)演群體，得益于臺灣內(nèi)部政策的助益和活躍的女性影像協(xié)會的推動。政府的國片輔導(dǎo)金為女導(dǎo)演提供了相對公平的資金籌集平臺，而女性影展的舉辦則提升了她們作品的影響力。李蕓嬋、王毓雅、周美玲、陳映蓉、鄭芬芬、傅天余、陳芯宜、曾文珍是臺灣女導(dǎo)演群體的代表人物，，她們大多出生于二十世紀(jì)七十年代前后，有著短片、記錄片、劇情片等豐富的影像創(chuàng)作。她們的作品靈動細(xì)膩，風(fēng)格多變，以別樣的視角和表達(dá)方式打破了男權(quán)主義的倫理束縛，傳達(dá)并張揚著獨特的女性意識和女性經(jīng)驗，活躍了臺灣影壇的同時也在國際上斬獲多項大獎。本文將以以上八位女導(dǎo)演的作品為代表，探究其多元化影像風(fēng)格之余，更為洞悉女導(dǎo)演對于自身命運的審視和描繪，剖析出她們對生命漂泊狀態(tài)的刻畫以及對家與國的遙想與渴望。 作為不乏女導(dǎo)演數(shù)量的大陸，如何引薦臺灣女導(dǎo)演的發(fā)展之路，形成具有群體效應(yīng)的女導(dǎo)演群，這亦是一個亟待破解的論題。本文最后一章試圖通過對臺灣與大陸女導(dǎo)演的發(fā)展背景及現(xiàn)狀的對比，來呈現(xiàn)兩地女導(dǎo)演各自的優(yōu)劣，勾畫兩地女導(dǎo)演的發(fā)展前景，以達(dá)到互鑒之目的。
[Abstract]:Since the new millennium, Taiwan's film industry has been in a doldrums. Since the new film movement in Taiwan, the number of outstanding directors has declined, and the quality of works has been uneven and fragmented. Investors have taken a long wait and see attitude towards Taiwan's film market, and the lack of funds has exacerbated the plight of Taiwan's film industry and made it more difficult for filmmakers to break through. In this historical situation, A group of outstanding Taiwanese women directors broke their cocoons from the cicada pupae of the film industry. They appeared in Taiwan as a group, infusing a fresh air into the silent Taiwan film industry. Become a scenery that cannot be ignored in Taiwan film culture ecology. Since the women's equal rights movement took place in the 1970s, a large number of women directors have emerged all over the world. But with the passage of time, they are influenced by the policies, wars, beliefs, history, culture and so on. At present, there are few countries and regions that can form an influential group of women directors in the country. Taiwan can have a stable number of women directors. Thanks to the help of Taiwan's internal policies and the promotion of the active Women's Image Association, the government's National Film Counselling Fund provides a relatively fair platform for women directors to raise funds. However, the holding of the Women's Film Festival has enhanced the influence of their works. Li Yun Chan, Wang Yuya, Zhou Meiling, Chen Yingrong, Cheng Finn, Fu Tianyu, Chen Yuyi and Zeng Wenzhen are representatives of Taiwan's female directors group. Most of them were born in the 1970s and have rich video creations such as short films, documentaries, drama films, etc. Their works are exquisite and varied in style. In a different way of view and expression, it breaks the ethical shackles of male chauvinism and conveys and publicizes the unique female consciousness and experience. This article will take the works of more than eight female directors as representatives, explore their diverse image styles, and also gain insight into the scrutiny and portrayal of their own destiny by women directors. It analyzes their depiction of life wandering state and their longing for home and country. As a mainland with no shortage of female directors, how to introduce the development of women directors in Taiwan and form a group of women directors with a group effect? This is also a topic to be solved. In the last chapter of this paper, we try to show the advantages and disadvantages of the female directors of the two places by comparing the development background and the present situation of the women directors in Taiwan and the mainland, and to outline the development prospects of the women directors in the two places. In order to achieve the purpose of mutual learning.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J911

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本文編號：1649501