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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/71269

    Title: 從異質拼貼到文學改編--婁燁電影研究;From Heterogeneous Collages to Film Adaptations: A Study on Lou Ye’s Films
    Authors: 郭彥廷;Kuo,Yen-Ting
    Contributors: 中國文學系
    Keywords: 婁燁;電影;異質拼貼;文學改編;互文;Lou Ye;films;heterogeneous collages;film adaptations;intertextuality
    Date: 2016-08-24
    Issue Date: 2016-10-13 12:39:16 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 婁燁隨著時間累積不少的電影作品,電影風格亦愈趨鮮明,並提供更多文本整理和探討的空間。本論文的章節架構按照婁燁電影的歷史序列編排,從婁燁的早期電影《危情少女》、《蘇州河》、《紫蝴蝶》、《頤和園》至近期作品《花》和《推拿》,嘗試對婁燁電影進行完整的研究探討。論文內容著重婁燁電影的文本分析,並援引傑哈.吉內特的「跨文本性」理論,試圖探究婁燁早期電影和原文本之間的拼貼重組,以及婁燁改編電影和原著小說之間的差異與轉換。婁燁早期電影對立第五代後期鏡頭語言的僵化,為了突破鏡頭敘述的貧瘠現實,婁燁以充滿實驗精神的鏡頭語言展開虛實界限的探索,呈現不確定性的影像敘事。在論文前段主要探討婁燁電影和原文本的互文關係,指出婁燁電影裡虛實難分的特色,並審視婁燁電影異質拼貼的價值意義。而婁燁近期電影多採取文學改編的模式,論文後段著重探討《花》和《推拿》兩部電影,透過電影的故事情節、媒介形式、鏡頭語言、編導觀點等面向去看電影如何轉化原著文字,縝密對照影像和文字,進而突顯婁燁電影更多層次的解讀,也從中梳理婁燁電影從異質拼貼到文學改編的整體脈絡。;Lou Ye has created many films over time. His film style becomes more and more identifiable, and the room for collation and discussions of texts is more and more spacious. The structure of chapters and sections of this paper is arranged according to the time sequence of Lou Ye’s filmography. From his early films as Don’t Be Young, Suzhou River, Purple Butterfly, Summer Palace to his recent ones as Love and Bruises and Blind Massage, this paper tries to conduct a complete study and discussion on Lou Ye’s films. The paper emphasizes the textual analysis of Lou Ye’s films, trying to discuss the collage and re-combination between his early films and their original texts, and the difference and transformation between Lou Ye’s film adaptations and their original novels with Gerard Genette’s theory of “transtextuality.” Unlike the stiff film language of the fifth-generation directors’ later films, Lou Ye began to explore the boundary between illusion and reality and present the visual narrative of uncertainty with a film language filled with an experimental spirit in order to break through the barren reality of film narrative. The former part of the paper discusses the intertextual relationship between Lou Ye’s films and their original texts, indicates the trait of “doubtful reality” in those films and reviews the values of heterogeneous collage in the films. Lou Ye’s recent films are mostly adapted from literary works, and thus the latter part of the paper emphasizes the discussion of his two recent films, Love and Bruises and Blind Massage. Through the films’ storylines, media form, film language, perspectives of scriptwriters and the director, this paper analyzes how films transform words of the original works, compares images with words carefully, reveals more layers of different interpretations of Lou Ye’s films, and combs through the entire context of his films from heterogeneous collages to film adaptations.
    Appears in Collections:[中國文學研究所] 博碩士論文

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