| DC 欄位 |
值 |
語言 |
| DC.contributor | 英美語文學系 | zh_TW |
| DC.creator | 王鈺婷 | zh_TW |
| DC.creator | Yu-ting Wang | en_US |
| dc.date.accessioned | 2012-7-10T07:39:07Z | |
| dc.date.available | 2012-7-10T07:39:07Z | |
| dc.date.issued | 2012 | |
| dc.identifier.uri | http://ir.lib.ncu.edu.tw:88/thesis/view_etd.asp?URN=961202011 | |
| dc.contributor.department | 英美語文學系 | zh_TW |
| DC.description | 國立中央大學 | zh_TW |
| DC.description | National Central University | en_US |
| dc.description.abstract | 本論文旨在探討茱莉安德魯斯（Julie Andrews）於1964到1982年間的電影，以及她與製作人們為克服類型選角（typecasting）所採用的幾種對策。1960年代中期，安德魯斯的電影生涯因膾炙人口的《歡樂滿人間》（Mary Poppins, 1964）和《真善美》（The Sound of Music, 1985）達到巔峰，但銀幕形象也因此被定型受限，加上當時電影工業及市場的改變，導致安德魯斯的事業迅速下滑。
為因應類型選角的問題，導演與製作人們採用三種對策。第一種對策，製作人們讓安德魯斯嘗試在劇情片中演出嚴肅的角色以擴展銀幕形象。安德魯斯的精湛演技雖獲得影評人及觀眾的讚賞，但電影保守的基調卻無益於改變安德魯斯純真善良（wholesome）的銀幕形象。第二種對策，安德魯斯與導演卅丈夫布雷克愛德華（Blake Edwards）合作，希望藉由演出世故、精明的現代女性以改變形象。此外，他們甚至侵犯、剝削安德魯斯過去美好的銀幕形象，利用裸體及脫衣舞，將安德魯斯的性粗魯的暴露在影片中，不但試圖挑戰觀眾的接受度，也批評當代充斥著性和暴力的電影工業。然而，由於安德魯斯所散發的英國貴族氣質與其扮演的一般世俗女性形象不搭，加上她並不性感，讓需要展現性感的劇情失去說服力，以致此對策成效不彰。第三種對策，安德魯斯選擇不再拋棄過去的銀幕形象。在《雌雄莫辨》（Victor / Victoria, 1982）中，她反倒利用過去的形象與歌舞長才，並在影片內加上與現代社會相關的議題，利用表演及扮裝以避免飾演性感角色時缺乏說服力的問題。此對策幫助安德魯斯成功的克服類型選角所造成的限制，並創造喜劇效果，讓本片於票房與口碑皆大獲好評，造就安德魯斯電影生涯中的第二高峰。
| zh_TW |
| dc.description.abstract | This thesis treats Julie Andrews’ film career from 1964 to 1982, a time when Andrews’ career excelled with hits like Mary Poppins and The Sound of Music, but was soon in decline due to typecasting and the changing film industry market. During this period, film producers adopted three strategies to deal with Andrews’ problem of typecasting. In the first strategy, studio producers attempted to expand her image by casting her in straight dramatic roles. Andrews indeed surprised audiences and critics alike with her dramatic abilities. However, the overall conservative tone in the films prevented the transformation of her wholesome image. In the second strategy, Andrews teamed up with director/husband Blake Edwards to deal with Andrews’ problem by having her play sophisticated contemporary women. They also exploited Andrews’ wholesome image by crudely displaying her sexuality in scenes that involve nudity and striptease. The sophisticated and eroticized female images were meant to challenge the audience and critique the film industry. However, they failed because Andrews’ Britishness and aristocratic mannerisms did not suit the images of ordinary women, and the imposed sexiness did not work well for the roles due to her lack of sex appeal. In the third strategy, Andrews dealt with the problem of typecasting not by abandoning it, but by exploiting it by way of her primary talents and contemporary subject matter. In Victor / Victoria, Andrews and Edwards also employed pretence and camp to retain authenticity when portraying sexy roles. This technique helped Andrews to transcend the limitations typecasting placed on her career, creating comic effect that made film to a commercial and critical success.
| en_US |
| DC.subject | 茱莉安德魯 | zh_TW |
| DC.subject | 類型選角 | zh_TW |
| DC.subject | 電影明星 | zh_TW |
| DC.subject | Typecasting. Movie Star | en_US |
| DC.subject | Julie Andrews | en_US |
| DC.title | 茱莉安德魯斯與類型選角 | zh_TW |
| dc.language.iso | zh-TW | zh-TW |
| DC.title | Through the Valley of the Shadow of Typecasting:Julie Andrews and Hollywood, 1964-1982 | en_US |
| DC.type | 博碩士論文 | zh_TW |
| DC.type | thesis | en_US |
| DC.publisher | National Central University | en_US |