【摘要】：始于19世紀、并在20世紀后半葉達到高潮的全球性移民是當今文化研究的重要語境。在異質文化的碰撞、沖突及其力量不對稱之間，“身份認同危機”空前突出，構成了全球化研究、文化研究領域的重要課題。我們認為，電影不僅是藝術文本，也是社會文本，，生動地記錄和想象了全球性離散現象（diaspora），討論海外華人導演及其電影所反映的離散經歷和身份認同困境具有重要的現實意義。 本論文在全球范圍內共收錄了140名海外華人導演，在定量研究基礎上，重點探索海外華人的身份危機及其認同的建構，主要分為三大部分展開論述：一、海外華人導演群體的分布現狀。本部分對海外華人導演集中進行原籍地分布、移民分布、移民時間等量化分析，并詳細探究北美、東南亞等海外華人導演群體的形成原因。二、海外華人導演的國際電影節(jié)獲獎情況。國際電影節(jié)不僅能挑選優(yōu)秀作品，而且是培育影視人才的重要路徑，本部分廣泛搜集海外華人導演在全球范圍內的獲獎情況及其特點，并做出詳細的數量研究和分析。三、海外華人導演的身份危機及其認同。本部分將海外華人電影身份危機劃分為殖民和后殖民兩個時期，通過定性分析，展現身份危機及其認同在不同歷史、文化等權力話語“合謀”下的表現形態(tài)與建構過程。
[Abstract]:Global immigration, which began in the 19 th century and reached its climax in the second half of the 20 th century, is an important context of cultural research today. Between the collision of heterogeneous cultures, conflicts and asymmetries of power, the "identity crisis" has become an important topic in the field of globalization and cultural research. We believe that film is not only an artistic text, but also a social text, vividly recording and imagining the global discrete phenomenon (diaspora), It is of great practical significance to discuss the discrete experience and identity dilemma reflected by overseas Chinese directors and their films. This thesis includes 140 overseas Chinese directors worldwide. On the basis of quantitative research, the thesis focuses on exploring the identity crisis of overseas Chinese and the construction of their identity, which is mainly divided into three parts: first, The distribution of overseas Chinese directors. This part focuses on the distribution of overseas Chinese directors, immigration time and other quantitative analysis, and explores in detail the formation of overseas Chinese directors in North America, Southeast Asia and other reasons. Second, the overseas Chinese director of the International Film Festival awards. The International Film Festival not only can select excellent works, but also is an important way to cultivate film and television talents. This part collects the awards and characteristics of overseas Chinese directors in the world, and makes a detailed quantitative study and analysis. Third, the identity crisis and identity of overseas Chinese directors. This part divides the overseas Chinese film identity crisis into two periods: colonial period and post-colonial period. Through qualitative analysis, it shows the expression and construction process of identity crisis and identity under the power discourse of different history and culture.
【學位授予單位】：暨南大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J911

【參考文獻】

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本文編號：2411747