Social Criticism in Huang Hsin-Yao′s The Great Buddha +

以作者查詢圖書館館藏

、以作者查詢臺灣博碩士

、以作者查詢全國書目

、勘誤回報

、線上人數：10

、訪客IP：18.117.107.90

姓名

江淑英(Shu-Ying Chiang) 查詢紙本館藏

畢業系所

英美語文學系

論文名稱

(Social Criticism in Huang Hsin-Yao′s The Great Buddha +)

相關論文

★ Body, Image and the Visaul Technology: Disappearance of the Human Body in Cinematic Representations	★ 重檢濁水溪公社之音樂實踐
★ 駭客任務的視覺，類型，與敘事結構	★ 城市顯影：萬仁電影中的階級、性別、與歷史
★ 電影《鬥陣俱樂部》與《美國殺人魔》中的精神分裂與消費社會	★ Romance in Motion:The Narrative and Individualism in Qiong Yao Cinema
★ 懷舊與侯孝賢都市電影美學：《戀戀風塵》、《南國再見，南國》、和《千禧曼波》	★ 舞動社會：邵氏一九六零年代國語歌舞片
★ Women Trapped: Ann Hui′s Narrative Strategy and Social Critique in Summer Snow, Goddess of Mercy, and The Postmodern Life of My Aunt

檔案

[Endnote RIS 格式]

[Bibtex 格式]

[相關文章]

[文章引用]

[完整記錄]

[館藏目錄]

[檢視]

[下載]

本電子論文使用權限為同意立即開放。
已達開放權限電子全文僅授權使用者為學術研究之目的，進行個人非營利性質之檢索、閱讀、列印。
請遵守中華民國著作權法之相關規定，切勿任意重製、散佈、改作、轉貼、播送，以免觸法。

摘要(中)

本研究旨在探討黃信堯的得獎電影《大佛普拉斯》（2017）所揭示的社會批判多層層面。通過讓觀眾沉浸於邊緣化角色的生活中，該片對當代臺灣所面臨的權力結構和系統性不公正提出了尖銳的批評。現有文獻中，學者們已分析了該片之電影技術、宗教象徵以及社會階級動態。本文欲於現有基礎上，深入探索該片之音景與場景安排是如何描繪出臺灣的社會階層分化現況。
音效設計在該片中起著關鍵作用，成為加強敘事並突顯社會批判的強大工具。通過分析該片的音效、音樂和口語的運用，本文於第二章節探討了聲音在傳達角色情感、增強氛圍和突顯描繪社會不平等方面的重要性。
第三章則著眼於本片的精彩視覺呈現。工廠老闆黃啟文(英文：Kevin)巨大的財富與菜脯(拼音：tshài-póo，英文：Pickle)和肚財(拼音：tōo-tsâi，英文：Belly Button)所處的破舊環境形成鮮明對比，突顯了臺灣社會中日益擴大的貧富差距和固有的不平等。
黃信堯巧妙的敘事手法，結合精湛的電影技巧，揭示了當代臺灣社會的陰暗潛流，揭露了表面下存在的不平等和道德腐敗。期望透過本文的探索，《大佛普拉斯》能成為一個引發批判性討論和文化內省的有力催化劑，以重申電影之於培養社會意識及倡議改革之重要性。

摘要(英)

This dissertation aims to explore the multi-layered social critique revealed in Huang Hsin-Yao′s award-winning film The Great Buddha + (2017). By immersing the audience in the lives of marginalized characters, the film offers sharp criticism of the power structures and systemic injustices faced by contemporary Taiwanese society. Scholars have already analyzed the film′s cinematic techniques, religious symbolism, and social class dynamics in existing literature. Building upon this foundation, this study seeks to dive deeper into how the film′s soundscape and mise-en-scène contribute to depicting the social hierarchies in Taiwan.
The sound design plays a crucial role in the film, serving as a powerful tool to enhance the narrative and highlight social critique. By analyzing the use of sound effects, music, and verbal language in the film, Chapter II explores the importance of sound in conveying character emotions, creating atmosphere, and emphasizing social inequalities.
Chapter III focuses on the film′s exceptional visual presentation. The stark contrast between the immense wealth of factory owner Kevin (Huang Qi-Wen) and the dilapidated environment of Pickle (Tshài-póo) and Belly Button (Tōo-tsâi) highlights the growing wealth disparity and inherent inequality within Taiwanese society.
Huang Hsin-Yao′s masterful storytelling techniques, combined with superb filmmaking skills, reveal the underlying dark undercurrents in contemporary Taiwanese society, exposing the hidden inequalities and moral decay beneath the surface. Through this exploration, it is hoped that The Great Buddha + can serve as a powerful catalyst for critical discussions and cultural introspection, reaffirming the importance of cinema in cultivating social awareness and advocating for change.

關鍵字(中)

★ 黃信堯
★ 大佛普拉斯
★ 社會批判
★ 視聽分析
★ 旁白
★ 場面調度

關鍵字(英)

★ Huang Hsin-Yao
★ The Great Buddha +
★ Social Criticism
★ Audiovisual
★ Voice-over Narration
★ Mise-en-scene

論文目次

Abstract ...................................................................................................................................... i
Chinese Abstract ...................................................................................................................... iii
Acknowledgments .................................................................................................................... iv
Chapter I Introduction ............................................................................................................... 1
Chapter II Sound +: Social Critiques on the Track ................................................................. 15
Chapter III Visual Representation: Social Critiques on Display ............................................. 41
Work Cited .............................................................................................................................. 62

參考文獻

Video Sources
National Taiwan Museum of Fine Arts. “「世界不隨人類生滅」展覽延伸活動-
《帶水雲》X《雲之国》映後座談 [World Beyond Human Existence: Exhibition Extended Activity - Post-screening Discussion of Nimbus and Cloud Nation].” YouTube, YouTube Video, 26 Dec. 2021, www.youtube.com/watch?v=kbcbSGSy5Nc. Accessed 19 July 2023.
Nimbus. Directed by Huang Hsin-Yao. Taiwan Southern Film Association [台灣南方
影像學會], 2009.
The Great Buddha +. Directed by Huang Hsin-Yao. Performances by Cres Chuang
and Bamboo Chen. MandarinVision and Cream Production, 2017.
WeLoveEasonChan. “2017 HKAFF《大佛普拉斯》導演黃信堯映後談 [2017
HKAFF: Director Huang Hsin-Yao Post-screening Discussion of The Great Buddha +].” YouTube, YouTube Video, 19 Nov. 2017, www.youtube.com/watch?v=STxZKYA5LMg. Accessed 5 Apr. 2023.
English Sources
Burgoyne, Robert. “The Cinematic Narrator: The Logic and Pragmatics Of
Impersonal Narration.” Journal of Film and Video, vol. 42, no. 1, University of Illinois Press, 1990, pp. 3–16. http://www.jstor.org/stable/20687886.
Coleridge, Samuel. Biographiae Litteraria or Biographical Sketches of My Literary
Life and Opinions. Vol. II. London: Rest Fenner, 1817.
Chion, Michel, Claudia Gorbman, and Walter Murch. Audio-vision: Sound on
Screen.1994.
Mcgowan, Todd. “Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes.”
Cinema Journal, vol. 42, 2003, pp. 27-47.
Metz, Christian, and Alfred Guzzetti. “The Fiction Film and Its Spectator: A
Metapsychological Study.” New Literary History, vol. 8, no. 1, 1976, pp. 75–105. https://doi.org/10.2307/468615.
Nichols, Bill. Introduction to Documentary, Second Edition. 2nd ed. Indiana
University Press, 2010.
Otway, Fiona. “The Unreliable Narrator in Documentary.” Journal of Film and Video,
vol. 67, no. 3–4, University of Illinois Press, University Film & Video Association, 2015, pp. 3–23. https://doi.org/10.5406/jfilmvideo.67.3-4.0003.
Tan, Yanqin. “The Ethics of Narrative in Film: The Great Buddha+ and Its Self
Reflexive Devices.” Concentric: Literary and Cultural Studies, vol. 46, no. 2, Sept. 2020, pp. 89-113. DOI: 10.6240/concentric.lit.202009_46(2).0005.
Chinese Sources
Cheng, Wei. “ 台灣掀起夾娃娃機熱潮 [Taiwan Sets Off Doll Catcher Fever].”
Nikkei.com, 2019, zh.cn.nikkei.com/politicsaeconomy/politicsasociety/34927-2019-04-01-05-00-10.html. Accessed 5 Apr. 2023.
Ding, Xiao-Ying and Zhang Wei-Gang. “《大佛普拉斯》：冷眼旁觀下的現實主義
敘事 [Realistic Narration from An Indifferent Perspective in The Great Buddha +].” Xibu Guang Bo Dian Shi [Western Broadcasting and Television], vol. 4, 2019, pp. 98-100.
Guo, Tong-Xi. “在地・間離・荒誕—黃信堯的影像世界 [Local, Interval, Absurd:
Huang Hsin-Yao′s Visual World].” Satellite TV and Broadband Multimedia, vol. 14, 2021, pp. 153-155.
Huang, Rui-Lu. “ 喜劇的憂傷：電影《大佛普拉斯》的創作風格分析 [The
Sorrow of Comedy: Analysis of the Creative Style in the Film The Great Buddha +].” Visual and Audio Interpretation, July 2019, pp. 92.
Lan, Tony. “《大佛普拉斯》敲佛聲大解密—杜篤之聽見電影靈魂 [Decoding
the Resonance of The Great Buddha +: Du Du-Zhi Hears the Soul of the Film].” Liberty Times, 23 June 2018, talk.ltn.com.tw/article/paper/1211153. Accessed 21 Mar. 2023.
Li, Miao-Miao. “《大佛普拉斯》間離美學與階層思考 [The Aesthetic of
Disconnection and Class Reflection in The Great Buddha +].” RADIO&TV JOURNAL, vol. 2020, no. 7, July 2020, pp. 98-99.
Li, Shih-Chen.“商業興觀點／夾娃娃機店轉型看齊日本經驗 [Business
Perspective: Transformation of Doll Catcher Stores, Learning from Japanese Experience].” Economic Daily News, 20 Feb. 2023, money.udn.com/money/story/122331/6983913. Accessed 5 Apr. 2023.
Li, Zhen-Huan. “《大佛普拉斯》的黑白鏡像與符號隱喻 [The Black-and-White
Mirroring and Symbolic Metaphor of The Great Buddha +].” Dianying Wenxue [Film Literature], vol. 762, 2020/21, pp. 88.
Lin, Wenchi. “《大佛普拉斯》的新現實主義美學 [The Aesthetics of Neo-Realism
in The Great Buddha+].” Journal of Jilin College of Art, vol. 4, 2018, pp. 37-39.
Liu, Bang-Chun. “台灣電影大佛普拉斯鏡頭語言—「偷窺性」表達 [The
Language of Cinematography in the Taiwanese Film The Great Buddha +: Expressing ‘Voyeurism’].” Youth Literary Journal, vol. 2020, no. 6, March 31, 2020, pp. 146-146.
Liu, Chen-Xiang, and Huang Hsin-Yao. “大佛・有抑無：劉振祥的「大佛普拉
斯」影像紀錄 [With or Without Great Buddha].” China Times Publishing Co., 2017, pp. 7-8.
Liu, Xin-Yu, and Li, Si-Wei. “秩序•灰暗•彩色—《大佛普拉斯》的疊加敘事空
間 [Order, Darkness, and Color: The Layered Narrative Space of The Great Buddha +].” Modern Communication, vol. 2019, no. 16, 2019, pp. 93-94.
Liu, Yi-Fei. “黃信堯電影中的三重對比敘事 [Triple Contrast Narrative in Huang
Hsin-Yao′s Films].” Southeast Communication, vol. 9, 2021, pp. 15-17.
Ministry of Culture Taiwan (R.O.C.). “Taiwan Cultural Memory Bank: 黃信堯獲第
54屆金馬「最佳新導演」及「最佳改編劇本奬」[Huang Hsin-Yao won the Best New Director and Best Adapted Screenplay at the 54th Golden Horse Awards]” Culture.tw, 2023, memory.culture.tw/Home/Detail?Id=622122&IndexCode=Culture_Object. Accessed 31 May 2023.
Mao, Guang-Yang. “《大佛普拉斯》中的叙事者研究 [A Study of the Narrator in
The Great Buddha+].” Wenjiao Ziliao [Literature and Education Materials], vol. 35, 2018, pp. 211-213.
Qian, Cheng. “《大佛普拉斯》的反身性策略與窺視機制 [The Reflexive Strategy
and Voyeuristic Mechanism of The Great Buddha +].” Xi Ju Zhi Jia [Drama Home], vol. 32, 19 Dec. 2018, pp. 53-55.
Sun, Zhi-Xi. “ 那肯定不是因為你眼睛有業障：《大佛普拉斯》導演黃信堯專
訪 [It′s Definitely Not Because Your Eyes Have Karmic Obstacles: Interview with Director Huang Hsin-Yao of The Great Buddha +].” Biosmonthly.com, BIOS monthly, 2021, www.biosmonthly.com/article/8987. Accessed 5 Apr. 2023.
Wu, Shang-Xuan. “無奈攏是為生活：黃信堯《同學麥娜絲》揭男人40的苦與
悶 [Resignation As A Form of Survival: Huang Hsin-Yao’s Classmates Minus Reveals Middle-aged Men’s Frustration].”Storm.mg, 3 Nov. 2020, www.storm.mg/article/3165100. Accessed 31 May 2023.
Xiao, Nanwan. “《大佛普拉斯》：佛像肚內的眾生 [The Sentient Beings Inside the
Buddha Statue: The Great Buddha +].” Fangyuan, vol. 2018, no. 15, 2018, pp. 66-69. DOI:10.3969/j.issn.1674-5396.2018.15.028.
Yang, Shi-Yuan. “《大佛普拉斯》敘事空間分析 [Analysis of Narrative Space in
The Great Buddha +].” Journal of News Research, vol. 9, no. 8, April 2018, pp. 125-127.
Zhuo, Wen. “淺析《大佛普拉斯》中的底層視角 [An Analysis of the Bottom Class
Perspective in The Great Buddha +].” Style and Characteristics, vol. 2019, no. 08, Issue 725, pp. 139-141.

指導教授

林文淇(Wen-Chi Lin)

審核日期

2023-7-21

推文