臺灣電影中的“在地”想象與探詢（2008-2012）
發(fā)布時間：2019-03-06 20:16
【摘要】：自2008年《海角七號》開啟所謂“臺灣電影文藝復興”，相當數(shù)量的一批臺灣電影在收益結構與創(chuàng)作者更迭的面向上造成了正面的沖擊效應，與既往臺灣電影有著承接、疊合及共謀的意涵。一方面，新世代導演通過城鄉(xiāng)形象、時代記憶、文化景觀的建構，賦予現(xiàn)階段臺灣電影豐富多元化的內(nèi)涵，呈現(xiàn)出在地復雜而充滿張力的文化多樣性，喚起觀眾的集體無意識，也以此不斷發(fā)展電影自身的在地文化現(xiàn)象之路。另一方面，由于臺灣特殊的時代背景和政治環(huán)境，此種以多元文化為認同傾向的在地想象有可能在思想內(nèi)涵上依然會受限于臺灣社會自身存在的種種桎梏。在本論文的討論中，將針對商業(yè)邏輯影響下的地景形塑、族群敘事與當下時代背景的結合、日本殖民記憶與中華文化符號的處理、傳統(tǒng)/現(xiàn)代的二元對立與融合等層面進行探討，分析當下臺灣電影暗藏的焦慮與困惑，并嘗試將臺灣電影擺在華語電影的大語境中加以考察，透過臺灣電影現(xiàn)狀得出未來發(fā)展生存之道，，指出一種創(chuàng)作趨向。
[Abstract]:Since the opening of the so-called "Taiwan Film Renaissance" on the Seventh Haijiao in 2008, a considerable number of Taiwanese films have had a positive impact on the income structure and the change of creators, and have undertaken with Taiwan films in the past. The implication of overlap and complicity. On the one hand, the new generation directors, through the construction of urban and rural images, the memory of the times, and the construction of the cultural landscape, have given the present stage of Taiwanese films rich and diversified connotations, showing a complex and tension-filled cultural diversity on the ground, and arousing the collective unconscious of the audience. It also continues to develop the film's own in-situ cultural phenomenon of the road. On the other hand, due to Taiwan's special era background and political environment, this kind of multi-cultural identity tendency may still be restricted by the various shackles of Taiwan society in its ideological connotation. In the discussion of this thesis, it will focus on the shaping of the landscape under the influence of business logic, the combination of ethnic narrative and the current background of the times, the treatment of Japanese colonial memory and Chinese cultural symbols. This paper discusses the traditional / modern dualistic opposition and fusion, analyzes the anxiety and confusion hidden in Taiwan movies, and tries to put Taiwanese films in the context of Chinese films. Through the current situation of Taiwan film, we can find the way of future development and survival, and point out a kind of creative trend.
【學位授予單位】：南京藝術學院
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905
本文編號：2435866
[Abstract]:Since the opening of the so-called "Taiwan Film Renaissance" on the Seventh Haijiao in 2008, a considerable number of Taiwanese films have had a positive impact on the income structure and the change of creators, and have undertaken with Taiwan films in the past. The implication of overlap and complicity. On the one hand, the new generation directors, through the construction of urban and rural images, the memory of the times, and the construction of the cultural landscape, have given the present stage of Taiwanese films rich and diversified connotations, showing a complex and tension-filled cultural diversity on the ground, and arousing the collective unconscious of the audience. It also continues to develop the film's own in-situ cultural phenomenon of the road. On the other hand, due to Taiwan's special era background and political environment, this kind of multi-cultural identity tendency may still be restricted by the various shackles of Taiwan society in its ideological connotation. In the discussion of this thesis, it will focus on the shaping of the landscape under the influence of business logic, the combination of ethnic narrative and the current background of the times, the treatment of Japanese colonial memory and Chinese cultural symbols. This paper discusses the traditional / modern dualistic opposition and fusion, analyzes the anxiety and confusion hidden in Taiwan movies, and tries to put Taiwanese films in the context of Chinese films. Through the current situation of Taiwan film, we can find the way of future development and survival, and point out a kind of creative trend.
【學位授予單位】：南京藝術學院
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905
【引證文獻】
相關博士學位論文 前1條
1 王雁;論臺灣電影的國族認同觀之變遷[D];上海大學;2011年
本文編號：2435866
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