在諸多關於侯孝賢電影的研究中，較少論及他電影裡面的客家特性。有鑑於此，本研究以侯孝賢的《在那河畔青草青》、《冬冬的假期》、《童年往事》以及《好男好女》四部電影為文本，探究客家或客家族群在當代電影中所呈現的意象。 本研究將透過情節與劇情鋪陳、人物角色刻畫、演員對白、服裝道具和場景的分析方式，找出侯孝賢電影世界裡的客家元素。另外再以族群互動的角度，分為客家/客家、客家/非客家、非客家/客家三個層次，以及客家歷史淵源、客家文化特質、客家族群性格和精神心理三個類項，更深入地探查潛藏客家族群與其他族群互動關係所產生的客家意象。 研究發現，侯孝賢電影世界裡的客家元素，因其寫實且自然的電影風格，再現當代的客家影像，實際上多為現實社會狀態的反映，雖未刻意凸顯但也成為真實可探的族群意象；另外，電影裡角色之間的互動，雖然不以客家族群為主體，但透過角色互動的整理分析，也可從族群互動分類的三個層次裡，分別歸納出不同的客家意象。 Abstract Previous research on the works of filmmaker Hou Hsiao-Hsien has touched little on Hakka culture and its influence of his movies. This thesis will analyze the imagery and meanings of Hou Hsiao-hsien’s four movies: Green Green Grass of Home , A Summer at Grandpa’s, A Time to Live, A Time to Die, Good Men, Good Women. This thesis also investigates Hou Hsiao-Hsien’s Hakka elements by analyzing the four works’ plot development, characters, dialogue, costume and scenery. Another research focus will be interactions between Hakka and non-Hakka ethnicities, examining Hakka history, cultural, ethnic characteristic and psychology. It is more deeply investigating the hiding imagery which generated by the interaction between Hakka and others. This research concludes that Hakka imagery is revealed through movies’real and natural depictions, conjuring up the actual condition of Hakka in society. Although not intentional, these works can bring up discussions of ethnicity. Examining the interactions unfolding between different ethnic groups, Hakka is not the lead role of the movies. However, this research breaks down three different aspects of Hakka culture through the lens of character interactions and generalization in the movies.
