台湾电影中的“在地”想象与探询（2008-2012）
发布时间：2019-03-06 20:16
【摘要】：自2008年《海角七号》开启所谓“台湾电影文艺复兴”，相当数量的一批台湾电影在收益结构与创作者更迭的面向上造成了正面的冲击效应，与既往台湾电影有着承接、叠合及共谋的意涵。一方面，新世代导演通过城乡形象、时代记忆、文化景观的建构，赋予现阶段台湾电影丰富多元化的内涵，呈现出在地复杂而充满张力的文化多样性，唤起观众的集体无意识，也以此不断发展电影自身的在地文化现象之路。另一方面，由于台湾特殊的时代背景和政治环境，此种以多元文化为认同倾向的在地想象有可能在思想内涵上依然会受限于台湾社会自身存在的种种桎梏。在本论文的讨论中，将针对商业逻辑影响下的地景形塑、族群叙事与当下时代背景的结合、日本殖民记忆与中华文化符号的处理、传统/现代的二元对立与融合等层面进行探讨，分析当下台湾电影暗藏的焦虑与困惑，并尝试将台湾电影摆在华语电影的大语境中加以考察，透过台湾电影现状得出未来发展生存之道，，指出一种创作趋向。
[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.
【学位授予单位】：南京艺术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
本文编号：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.
【学位授予单位】：南京艺术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
【引证文献】
相关博士学位论文 前1条
1 王雁;论台湾电影的国族认同观之变迁[D];上海大学;2011年
本文编号：2435866
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