1987～2012台湾电影研究

发布时间：2018-06-20 11:34

本文选题：当代台湾电影 + 人文关怀　；参考：《上海戏剧学院》2013年博士论文

【摘要】：1982年至1987年的“新电影”运动在台湾电影史上占据着重要地位，使台湾电影在艺术美学和内在文化品格上都得到了质的飞跃，对于其后台湾电影的文化意蕴、艺术追求和风格样式都有着深远的影响。“新电影”运动之后的台湾电影在顷刻间陷入黑暗的困守期。一面是对“新电影”时期创作精神和作品风格的自觉沿承，一面又要面对死寂的台湾电影市场的种种考验。在传承与变革、迷失与困惑中，台湾电影人走过了二十年艰难的复苏摸索之路，直到2008年终于开始有所转机。本论文研究的时间范围锁定在“新电影”运动结束的1987年至2012年。从对这25年台湾拍摄影片的系统分析中可以发现，在电影的文化基础、美学观念以及电影语言等方面，既有对“新电影”的传承，也有发展和突破，而总体表现为电影人作为艺术工作者所具有的人文关怀，电影对于人与人、人与自然、人与社会的关照。这是有别于“新电影”之前以政治宣导为大的最根本改变。“新电影”是台湾电影的一个分水岭，尽管短暂，却起到至关重要的作用。“新电影”之后的台湾电影作为一个被许多学者和电影人在心底判了死刑的地区电影，却以其顽强的生命力等待烈火焚烧过后的重生。本论文除绪论和结语外，主体部分由四章组成。第一章从电影史的角度将1987到2012年的台湾电影分为转折期、衰落期和复苏期三个阶段，概述各阶段的发展历程。由于“新电影”之后台湾电影的主要创作人员仍然是“新电影”时期的导演以及他们的后辈、学徒，加之“新电影”在台湾电影史上所占的重要地位，因此这一阶段台湾电影的发展与“新电影”有着千丝万缕的联系。文章主要从对其沿承与变革入手分阶段进行梳理。接下来的三章选取三个方面对1987年之后台湾电影的特点进行归纳论述，，希望给出这一阶段台湾电影的总体印象。第二章从文化的角度分述自然地理、民俗信仰以及性格特点对于台湾电影的影响以及电影中如何表现其地域特色。第三章从美学的角度阐述台湾电影中的三种人文视角：自我关注，对他者的思考以及用儿童的特殊视角观看社会人生。第四章将论述集中于电影的镜头语言，解读电影语言的独特魅力对台湾电影的作用，并对台湾摄影师提出的追求“影像的气味”的观点予以关注。结语在对整体论述总结的基础上，初步展望台湾电影今后的发展，对台湾电影中出现的问题进行反思。
[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.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J909.2

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