博碩士論文 941202002 詳細資訊

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:17 、訪客IP:
姓名 林譽如(Yu-ju Lin)  查詢紙本館藏   畢業系所 英美語文學系
論文名稱 Romance in Motion:The Narrative and Individualism in Qiong Yao Cinema
(Romance in Motion:The Narrative and Individualism in Qiong Yao Cinema)
★ 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★ 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
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摘要(中) 本論文探討瓊瑤電影的敘事與個人主義。瓊瑤類型在台灣電影史裡被泛指為「文藝愛情片」與「三廳電影」,時間大致與1963至1980年的台灣經濟奇蹟重合,五十部瓊瑤女士的小說在1965與1983年間被改編成為電影。此時的瓊瑤電影雖被認為是逃避主義的愛情故事,但是它們實際上反映了社會衝突,並且投射出女性主體與個體精神。
摘要(英) This thesis investigates the narrative and individualism of Qiong Yao cinema, a genre generally termed as “wenyi aiqing pian” (literary and artistic romantic film) and “santing dianying” (film of three rooms) in Taiwan film history. Fifty novels written by the popular female writer Qiong Yao were adapted into films from 1965 to 1983. Qiong Yao cinema thrived with the rise of Taiwan’’s economy, the so called “Taiwan Miracle” between 1963 and 1980. Although Qiong Yao films made in this period are generally considered escapist romance, they in fact reflect social conflicts and project strong female subjectivity and individuality.
Chapter one elaborates on the twenty years of cinematic glory enjoyed by Qiong Yao genre. Qiong Yao adaptations are generally divided into two periods: the Southeastern Asian mode of the 60s and the Taiwan mode of the 70s, 80s. This chapter first introduces the adaptations made by the Central Motion Pictures Company and Grand Pictures Company to show the rise or fall of Qiong Yao genre and how Qiong Yao intervened in the production. The chapter argues that the materiality of the cinematic form makes Qiong Yao films distinctively different from her novels. Although the films are still very much in the Wenyi (literary and artistic) tradition of Taiwan, the representation of space on screen and the attraction of stars give Qiong Yao films a familiar but unique quality. The two representative directors in the Qiong Yao genre, Li Xing and Bai Jingrui, are briefly discussed before the chapter surveys the criticism on this genre, which underestimates the significance of Qiong Yao films.
Chapter two probes into pairs of binary oppositions recurrent in Qiong Yao films. This chapter argues that Qiong Yao film narrative in general is organized by two sets of binary oppositions, one social and the other cultural. On the social level, one can find the old/young contrast functioning in narrative involving a traditional family. There are also the poor/wealthy and morally good/bad contrasts playing important roles in the development of the plot. Besides the social opposition common in most melodramatic narratives, this chapter argues that there can be found in Qiong Yao film narrative cultural oppositions of art/money and modern/traditional. At the time when Taiwan was immersed in the drive of economic growth, the cultural oppositions help formulate a strong subjectivity in the scenario of a young individual with modern and artistic propensity fighting against the old generation which adheres to social traditions and embraces wealth. The two sets of oppositions propel the Qiong Yao narrative to the climax of the conflict between an individual and society. Not escaping from the social reality, Qiong Yao films sentimentally present social conflicts disguised within a romantic context for the target audiences: young women who were thoroughly engaged in Taiwan economic upheaval and found the exaltation of individualism highly appealing.
Chapter three further examines the romanticized individualism in Qiong Yao films. It analyzes how Qiong Yao films use nature and art/literature to highlight the value of individuality, the spirit of freedom, and the virtue of innocence. The chapter demonstrates that Qiong Yao films are by no means “santing dianying” (films shot in three rooms). It is in fact a generic convention for Qiong Yao films to include location shots with beautiful natural landscapes and characters with poetic names and artistic profession or inclination. The chapter argues that rather than depicting an unrealistic dreamland for the audience, Qiong Yao films create an ideal subjectivity for female audiences to identify with. Locations shots of spacious landscapes free protagonists’’ bodies while art and literature free their minds. Watching Qiong Yao films is not to passively dream for an otherworldly romance but to reassure the value and spirit of individuality. The chapter argues that it is this romanticized individualism that attracted the young female audience whose subjectivity was denied by the patriarchal and urbanizing society of Taiwan in the 70s.
關鍵字(中) ★ 瓊瑤電影
★ 敘事
★ 二元對立
★ 個人主義
關鍵字(英) ★ individualism
★ Qiong Yao films
★ narrative
★ binary opposition
論文目次 Abstract……………………………………..…….………………………………….. i
Chinese Abstract………………………………………………………..………… iii
Acknowledgements……………………...…………………………..…………… iv
Chapter One: The Cinematic Glory of Qiong Yao Cinema………...…… 1
Chapter Two: The Social and Cultural Binary Oppositions in Qiong
Yao Film Narrative……..…….…………..……………….…. 26
Chapter Three: Romanticizing Individualism: Nature, Literature, and
Art in Qiong Yao Films..…………………….…...……….. 56
Chapter Four: Conclusion…………………………………………….……. 84
Works Cited………………………………………………………………………… 90
Selective Qiong Yao Filmography……….…………..……………………… 93
Works Consulted………………………………………………………………… 95
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---. “I Don’t Understand” (我不懂). Cinemart (銀色世界). 109 (1979): 12-13.
“Qiong Yao and Chen Honglie: Different Paths to A Same Destination” (瓊瑤陳鴻烈:殊途同歸). Today Movie (今日電影). 21 (1977): 8-9.
San Sang (珊珊). “Far Away From Home: A Realist Film with Artistic Atmosphere” (人在天涯:充滿了藝術氣息的寫實電影). Zhen Shan Mei Movie Magazine (真善美). 46 (1977): 18-19.
Wang, Anni (王安妮). “An Interview with Qiong Yao”(檸檬茶邊訪瓊瑤). Cinemart (銀色世界). 60 (1974): 33.
Xiao Feng(暁鳳). “Who Is the First: Two Rainbows” (兩道彩虹飛奔:誰最先到達終點). Zhen Shan Mei Movie Magazine (真善美). 49 (1977): 30-31.
Xie, Lili (謝莉莉). “Women Directors From the Mud”(一群從泥巴里走出來的女導演). World Screen (世界電影). 146 (1980): 36.
Ye, Lan (葉蘭). “Chiang Ching and Wang Ling” (兩代女性:江青與汪玲為情所困). International Screen (國際電影). 127 (1966): 44-45.
Zheng, Xinyi (曾心儀). “Attention: The Qiong Yao Threats and the Reply to Prof. Wang Wenxin” (注意!「瓊瑤公害」兼以「瓊瑤問題」答覆王文興教授). The China Tide (夏潮). 4.3 (1978): 74-75.
指導教授 林文淇(Wen-chi Lin) 審核日期 2010-1-25
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