本文選題：當(dāng)代臺灣電影 + 人文關(guān)懷��； 參考：《上海戲劇學(xué)院》2013年博士論文

【摘要】：1982年至1987年的“新電影”運動在臺灣電影史上占據(jù)著重要地位，使臺灣電影在藝術(shù)美學(xué)和內(nèi)在文化品格上都得到了質(zhì)的飛躍，對于其后臺灣電影的文化意蘊、藝術(shù)追求和風(fēng)格樣式都有著深遠(yuǎn)的影響。“新電影”運動之后的臺灣電影在頃刻間陷入黑暗的困守期。一面是對“新電影”時期創(chuàng)作精神和作品風(fēng)格的自覺沿承，一面又要面對死寂的臺灣電影市場的種種考驗。在傳承與變革、迷失與困惑中，臺灣電影人走過了二十年艱難的復(fù)蘇摸索之路，直到2008年終于開始有所轉(zhuǎn)機。 本論文研究的時間范圍鎖定在“新電影”運動結(jié)束的1987年至2012年。從對這25年臺灣拍攝影片的系統(tǒng)分析中可以發(fā)現(xiàn)，在電影的文化基礎(chǔ)、美學(xué)觀念以及電影語言等方面，既有對“新電影”的傳承，也有發(fā)展和突破，而總體表現(xiàn)為電影人作為藝術(shù)工作者所具有的人文關(guān)懷，電影對于人與人、人與自然、人與社會的關(guān)照。這是有別于“新電影”之前以政治宣導(dǎo)為大的最根本改變�！靶码娪啊笔桥_灣電影的一個分水嶺，盡管短暫，卻起到至關(guān)重要的作用�！靶码娪啊敝蟮呐_灣電影作為一個被許多學(xué)者和電影人在心底判了死刑的地區(qū)電影，卻以其頑強的生命力等待烈火焚燒過后的重生。 本論文除緒論和結(jié)語外，主體部分由四章組成。 第一章從電影史的角度將1987到2012年的臺灣電影分為轉(zhuǎn)折期、衰落期和復(fù)蘇期三個階段，概述各階段的發(fā)展歷程。由于“新電影”之后臺灣電影的主要創(chuàng)作人員仍然是“新電影”時期的導(dǎo)演以及他們的后輩、學(xué)徒，加之“新電影”在臺灣電影史上所占的重要地位，因此這一階段臺灣電影的發(fā)展與“新電影”有著千絲萬縷的聯(lián)系。文章主要從對其沿承與變革入手分階段進(jìn)行梳理。 接下來的三章選取三個方面對1987年之后臺灣電影的特點進(jìn)行歸納論述，，希望給出這一階段臺灣電影的總體印象。第二章從文化的角度分述自然地理、民俗信仰以及性格特點對于臺灣電影的影響以及電影中如何表現(xiàn)其地域特色。第三章從美學(xué)的角度闡述臺灣電影中的三種人文視角：自我關(guān)注，對他者的思考以及用兒童的特殊視角觀看社會人生。第四章將論述集中于電影的鏡頭語言，解讀電影語言的獨特魅力對臺灣電影的作用，并對臺灣攝影師提出的追求“影像的氣味”的觀點予以關(guān)注。 結(jié)語在對整體論述總結(jié)的基礎(chǔ)上，初步展望臺灣電影今后的發(fā)展，對臺灣電影中出現(xiàn)的問題進(jìn)行反思。
[Abstract]:The "New Film" movement from 1982 to 1987 occupied an important position in the history of Taiwan's films, which made Taiwan films make a qualitative leap forward in both artistic aesthetics and intrinsic cultural character. Artistic pursuit and style have profound influence. After the "New Film" movement, Taiwanese films immediately fell into a period of darkness. On the one hand, it is the conscious acceptance of the creative spirit and style of the new film period, on the other hand, it faces all kinds of tests of the dead Taiwan film market. In the midst of inheritance and change, loss and confusion, Taiwanese filmmakers made their way through two decades of hard recovery until 2008 began to turn the corner. The time range of this thesis is from 1987 to 2012. From the systematic analysis of the films made in Taiwan in the past 25 years, we can find that there are not only the inheritance of "new films", but also the development and breakthrough in the cultural basis, aesthetic concepts and film language of films. The overall performance is the humanistic concern of filmmakers as art workers, and the care of films for people, people and nature, people and society. This is different from the new film before the political propaganda as a major change. New Film is a watershed for Taiwanese films, which, though brief, plays a crucial role. The Taiwanese film after "New Film", as a regional film condemned to death by many scholars and filmmakers, is waiting for the rebirth after burning with its indomitable vitality. In addition to the introduction and conclusion, the main part consists of four chapters. The first chapter divides Taiwan films from 1987 to 2012 into three stages from the angle of film history: turning period, declining period and reviving period, and summarizes the development course of each stage. Since the main creative personnel of Taiwan's films after "New Film" are still directors of the "New Film" period and their descendants and apprentices, and the important position "New Film" occupies in Taiwan's film history, Therefore, the development of Taiwan film in this stage is inextricably linked with New Film. The article mainly from its along the succession and the reform start to carve out in stages. The following three chapters select three aspects to summarize and discuss the characteristics of Taiwan films after 1987, hoping to give the overall impression of Taiwan films in this stage. The second chapter discusses the influence of natural geography, folk belief and character on Taiwanese films from the perspective of culture and how to express their regional characteristics. The third chapter expounds the three humanistic perspectives in Taiwan films from the aesthetic point of view: self-concern, thinking of others and viewing social life from the special perspective of children. The fourth chapter will focus on the film lens language, interpret the unique charm of film language on the role of Taiwan film, and focus on the Taiwan photographer's point of view of the pursuit of "the smell of image". On the basis of summing up the whole discussion, the conclusion preliminarily looks forward to the future development of Taiwan films and reflects on the problems in Taiwan films.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J909.2

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