發(fā)布時(shí)間：2018-04-01 03:39

  本文選題：臺(tái)灣青春電影　切入點(diǎn)：小時(shí)代　出處：《廈門大學(xué)》2014年碩士論文

【摘要】：回顧臺(tái)灣電影的百年脈絡(luò),便可感受其積淀與魅力。自1949年《阿里山風(fēng)云》開始,臺(tái)灣電影才有了實(shí)質(zhì)意義上的發(fā)展。歷經(jīng)“政宣片”、“健康寫實(shí)電影”、“臺(tái)語(yǔ)片”、“武俠片”、“三廳電影”、“新電影運(yùn)動(dòng)”和“后新電影”等多種階段與類型,臺(tái)灣電影有如長(zhǎng)河一樣流動(dòng)而沉淀。青春電影作為臺(tái)灣電影的代表性風(fēng)貌,也經(jīng)歷了“學(xué)生電影”、“新電影運(yùn)動(dòng)”與“過(guò)渡與轉(zhuǎn)型時(shí)期”三個(gè)階段的成長(zhǎng)。進(jìn)入21世紀(jì)后,由《藍(lán)色開門》等開啟的青春電影風(fēng)潮又有著完全不同于以往的風(fēng)貌,因此稱之為“新青春電影”。而《海角七號(hào)》、《艋胛》和《那些年,我們一起追的女孩》等青春影片不單在寶島熱映,也在大陸刮起一股討論和觀影的熱潮。 大陸近年也推出不少青春電影,如《致青春》和《小時(shí)代》等。尤其是《小時(shí)代》這部電影,引發(fā)了巨大的爭(zhēng)議與討論。其電影文本本身,也散發(fā)出諸多詹姆遜所言的后現(xiàn)代主義文化特征,而這些特征也體現(xiàn)在臺(tái)灣的新青春電影之中。 本文研究嘗試總結(jié)了“小時(shí)代”一詞的涵義,包含“個(gè)人私密青春”、“注重當(dāng)下”和“與歷史疏離”等特質(zhì),并結(jié)合詹姆遜后現(xiàn)代主義文化的幾大特征,如“深度的消失”、“歷史意識(shí)的消失”、“主體的消失”和“距離感的消失”等,進(jìn)而使用一個(gè)新的概念——“小時(shí)代”情結(jié)。文章也主要從個(gè)人私密、無(wú)深度和時(shí)空斷裂幾個(gè)維度入手,細(xì)致剖析《艋胛》、《那些年,我們一起追的女孩》、《新魯冰花》、《一頁(yè)臺(tái)北》與《河豚》等新青春電影文本,也針對(duì)新舊青春電影對(duì)比研究。文末探討了新青春電影的時(shí)代背景和電影環(huán)境,也試著提出未來(lái)可以努力的創(chuàng)作新方向。
[Abstract]:Looking back at the century-old context of Taiwan's films, we can feel their accumulation and charm. Taiwan films have developed in a substantial sense. They have gone through various stages and types, such as "political propaganda film", "healthy realistic film", "Taiwanese language film", "martial arts film", "three chamber films", "new film movement" and "post-new film". Taiwan film flows and precipitates like a long river. As a representative style of Taiwan film, youth film has also experienced the growth of "student film", "new film movement" and "transition and transition period." after entering the 21st century, The trend of youth movies, which was initiated by "Blue Open door", is completely different from the past, so it is called "New Youth Film." and "Cape 7," "scapula", and "those years," The Girl we chased together is not only popular in Treasure Island, but also has a wave of discussion and film viewing in mainland China. In recent years, the mainland has also released a lot of youth films, such as "to Youth" and "small Times." in particular, the film "small Times" has aroused great controversy and discussion. It also exudes many postmodernist cultural features as Jameson calls them, which are also reflected in Taiwan's new youth films. This paper attempts to summarize the meaning of the word "small age", including the characteristics of "personal youth", "focus on the present" and "alienation from history", and combine with the characteristics of Jameson's postmodernist culture. Such as "the disappearance of depth", "the disappearance of historical consciousness", "the disappearance of subject" and "the disappearance of distance feeling", and so on, and then uses a new concept "small age" complex. Detailed analysis of "the blade", "the girl we chased together in those years", "New Lubing Flower", "one page of Taipei" and "the puffer porpoise" and other new youth film texts, At the end of the article, the author discusses the background and the film environment of the new youth film, and tries to put forward the new direction of creation in the future.
【學(xué)位授予單位】：廈門大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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本文編號(hào)：1693831