本文選題：臺(tái)灣青春電影　切入點(diǎn)：后現(xiàn)代主義　出處：《四川戲劇》2017年03期

【摘要】：2000年后,打破"臺(tái)灣電影已死"寓言的新一代臺(tái)灣青春電影成功挽救了島內(nèi)電影產(chǎn)業(yè)頹勢,其對傳統(tǒng)意義上同類影片的解構(gòu)與重建折射出臺(tái)灣歷史政治氣候和影視工業(yè)整體環(huán)境的變化。后現(xiàn)代主義視閾下,新臺(tái)灣青春電影表現(xiàn)出時(shí)間維度上的平面化斷層和空間維度上的"超空間"意味,本文以"認(rèn)知測繪"方式對電影文本進(jìn)行可行性分析,揭示其在全球語境中的"政治無意識(shí)",進(jìn)而描繪出臺(tái)灣新青春電影這一典型后現(xiàn)代主義文化文本與社會(huì)政治的關(guān)系譜系。
[Abstract]:After 2000, a new generation of Taiwanese youth films that broke the fable of "Taiwan film is dead" succeeded in saving the decline of the film industry on the island.Its deconstruction and reconstruction of similar films in the traditional sense reflect the changes of Taiwan's historical political climate and the overall environment of the film and television industry.From the perspective of postmodernism, the new Taiwan youth film shows a plane fault in time dimension and a "hyperspace" meaning in space dimension. This paper analyzes the feasibility of the film text by means of "cognitive mapping".It reveals its "political unconsciousness" in the global context, and then depicts the relationship between Taiwan's new youth film, a typical post-modernist cultural text, and social politics.
【作者單位】： 重慶大學(xué);
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

1 雪風(fēng);婁軍;;《艋，

本文編號(hào)：1729314