博碩士論文 961202015 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:11 、訪客IP:3.85.214.0
姓名 曾芷筠(Chih-yun Tseng)  查詢紙本館藏   畢業系所 英美語文學系
論文名稱 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》
(Nostalgia and Hou Hsiao-hsien's Urban Film Aesthetics: Dust in the Wind, Goodbye South, Goodbye, and Millennium Mambo)
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
★ 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]
  1. 本電子論文使用權限為同意立即開放。
  2. 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。
  3. 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) 侯孝賢拍攝台北的都市電影,如《尼羅河女兒》(1987)、《好男好女》(1995)、和
《千禧曼波》(2001)、以及最近的《最好的時光》(2005),一般被認為不受評論者和侯
迷的喜愛。不同於帶有過往時期(1960、70 年代)的濃厚懷舊感的80 年代電影,似乎
一旦侯孝賢開始拍攝台北,電影就顯得空洞。這個問題使我們必須重新探究懷舊的內
涵。懷舊是侯孝賢電影文本中最重要的風格之一,他獨特的半自傳性體裁、以及對台灣
過往歷史的觀照,使其電影語言瀰漫著一種濃厚的懷舊感受。但是,侯孝賢的晚期都市
電影真的就完全不懷舊了嗎?本論文著重探討《戀戀風塵》(1986)、《南國再見,南國》
(1996)、《千禧曼波》三部電影,分析懷舊效果如何成立。本論文的論點是,侯孝賢電
影中的懷舊效果不應該狹義地被定義成以實地取景和非職業演員為核心的寫實主義,也
不應該局限於城鄉二元對立,而是透過描繪一種人與人之間、人與自然之間的親密感而
散發出來。本論文指出,侯孝賢的晚期都市電影,特別是《南國再見,南國》和《千禧
曼波》,雖然在主題和電影語言風格上明顯與過去的電影不同,但仍然帶有濃厚的懷舊
感。本論文試圖闡明侯孝賢電影的懷舊並非來自於他寫實地呈現了過往,而是透過特殊
的電影美學來建立一種懷舊感。
本論文的第一章分析新電影時期最典型的懷舊影片《戀戀風塵》,發現侯孝賢懷舊
的本質乃是一種個人與家庭、朋友、他人之間共享的親密感,以及人與自然之間的和諧
感受。本章提出「懷舊寫實主義」一詞來做為討論基礎,並論證上述兩種親密感無論在
台灣鄉下或在台北城市都可以被找到。第二章轉而討論《南國再見,南國》,影片的呈
現反映出,無論在鄉下或城市,懷舊的對象都已經難以像過往一般親密、和諧地存在。
透過大量與《戀戀風塵》的場景對話,《南國再見,南國》傳達出一種間接的懷舊感。
此外,透過刻劃男主角捷哥這個角色,影片顯示出一種處於危機狀態的懷舊。第三章聚
焦於《千禧曼波》這部描繪年輕人無根狀態和浮動都會空間的電影,探討侯孝賢的新都
市電影美學,包括攝影、舒淇的明星形象、電子音樂,都加強了都市經驗的負面性。而
影片最後出現的夕張場景,則是此片懷舊感的重要來源,顯示出侯孝賢的懷舊感受已不
iv
受國界限制。

摘要(英) Hou Hsiao-hsien’s urban films about Taipei, such as Daughter of the Nile (1987), Good
Men Good Women (1994), Millennium Mambo (2000), and the last installment of Three Times
(2006), have not been received well by his critics and fans. Unlike earlier films of the 80s,
which provide a strong sense of nostalgia of the Taiwan in the 60s and 70s, these urban films
seem rather empty once the camera focus shifts to the city. This phenomenon calls for a
reconsideration on the issue of nostalgia in Hou’s films. Nostalgia is one of the most
renowned aesthetic features of Hou’s films in the 80s. His unique semi-autobiographical
themes and his concerns for Taiwan’s history shed a strong sense of nostalgia in the filmic
language. Is it really the case that Hou’s later urban films are no longer nostalgic? This
thesis intends to probe into Hou’s film language to explicate how Hou successfully constructs
the effect of nostalgia in his films, especially Dust in the Wind (1986), Goodbye South,
Goodbye (1996), and Millennium Mambo (2000). I argue that the nostalgia in Hou’s films
should not be defined by a naïve sense of realism focusing on real locations and
non-professional actors/actresses. Neither should the discussions be limited to the context of
city/country binary opposition. It is rather an effect constructed by the depiction of ideal
intimacy in human relationships as well harmony between human beings and nature. This
thesis points out that Hou’s later urban films, especially Goodbye South, Goodbye and
Millennium Mambo, though seemingly very different in terms of subject matter and film style,
are still nostalgic films. The thesis hopes to make it clear that it is not that Hou’s films
realistically depict Taiwan’s past which bring out the audience’s nostalgia. It is rather that
Hou constructs nostalgic effect in through his film aesthetics.
Chapter one of this thesis examines Hou’s quintessential film Dust in the Wind to
contend that the nostalgic effect is manifested through the presentation/preservation of
intimacy in interpersonal relationship as well as harmony between human beings and nature.
ii
In this chapter, the notion of what I call nostalgic realism is proposed and discussed. The
chapter also demonstrates that nostalgic effect does not lie in the film’s depiction of country
only; it can be located in that of the city too. Chapter two turns to Goodbye South, Goodbye.
The presentation in the film reflects that the content of nostalgic effect no longer exist either
in the country and the city. By numerous allusions to Dust in the Wind, the film conveys the
sense of nostalgia indirectly. Through the character of Jack, the film depicts nostalgia in
despair. Chapter three focuses on Millennium Mambo, which depicts the rootless being of
the youth and the drifting urban space in Taipei. Hou’s new urban aesthetics will be
discussed to show how the cinematography, the casting of a female star Shu Qi, and the use of
music reinforce the characters’ negative urban experience. The two sequences of Yubari will
be pointed out as the key elements of the film’s nostalgic effect, which is not confined by
national boundaries.
Key
關鍵字(中) ★ 侯孝賢
★ 懷舊效果
★ 親密感
★ 城鄉差距
★ 都市空間
★ 《戀戀風塵》
★ 《南國再見,南國》
★ 《千禧曼波》
關鍵字(英) ★ urban space
★ Hou Hsiao-hsien
★ nostalgic effect
★ intimacy
★ city/country binary
論文目次 Abstract…………….……………………………………………………………….. i
Chinese Abstract……………………………………………………………………iii
Acknowledgement………………………...………………………………………....v
Preface
Nostalgia and Hou Hsiao-hsien’s Urban Films…………………………...……...…...1
Chapter One
The Nostalgic Effect in Dust in the Wind….……………………………………...…11
Chapter Two
Nostalgia in Crisis: Present-day Rhythm in Goodbye South, Goodbye………......….38
Chapter Three
Nostalgia with no National Boundary: The Urban Space in Millennium Mambo…...62
Works Cited…………………………………..…………………………….……….89
參考文獻 Bordwell, David. Figures Traced in Light: On Cinematic Staging. London: University of
California Press, 2005. Print.
Browne, Nick. “Hou Hsiao-hsien’s The Puppetmaster: The Poetics of Landscape.” Island on
the Edge: Taiwan New Cinema and After. Eds. Chris Berry and Feii Lu. Hong Kong:
Hong Kong University Press, 2005. 79-88. Print.
Chen, Pulp. “Loh Tsui Kweh Commune.” Sonic Youth. 5 Dec. 2005. Web. 19 Mar. 2011

Dyre, Richard. Stars. London: BFI, 1998. Print.
Hasumi, Shigehiko. “The Eloquence of the taciturn: An Essay on Hou Hsiao-hsien.”
Inter-Asia Cultural Studies 9:2(2008): 184-194. Print.
Steward, Susan. On Longing: Narratives of Miniature, the Gigantic, the Souvenir, the
Collection. Durham: Duke University Press, 1993. Print.
Udden, James. “’This Time He Moves!’ The Deeper Significance of Hou Hsiao-hsien’s
Radical Break in Good Men, Good Women.” Cinema Taiwan: Politics, Popularity, and
State of the Arts. Eds. Darrell Williams Davis and Ru-shou Robert Chen. New York:
Routledge, 2007. 183-202. Print.
---. Udden, James. “Hou in the New Millennium.” No Man an Island: The Cinema of Hou
Hsiao-hsien. Hong Kong: Hong Kong University Press, 2009. Print.
Wang, Ban (王斑). “Black Holes of Globalization: Critique of the New Millennium in Taiwan
Cinema.” Modern Chinese Literature and Culture 15.1 (2003): 90-119. Print.
Yeh, Emilie Yueh-yu, and Darrell William Davis. Taiwan Film Directors: A Treasure Island.
New York: Columbia University Press, 2005. Print.
Yip, June. Envisioning Taiwan. Durham: Duke University Press, 2004. Print.
Works Cited in Chinese
Tseng 90
Burdeau, Emmanuel. “An interview with Hou Hsiao-hsien (侯孝賢訪談).” Hou Hsiao-hsien
(侯孝賢). Eds. Assayas et al. Taipei: Film Archive Publication, 2000. Print.
Chu, Tian-wen (朱天文). “This Time He Moves (這次他開始動了).” Good Men, Good
Women: Hou Hsiao-hsien’s notes, scenes, and the script (好男好女:侯孝賢拍片筆
記、分場、分鏡劇本). Taipei: Mai-tian, 1995. Print.
Chen, Ming-chang (陳明章), and Jiang Wen-yu (江文瑜). “From Dust in the Wind to The
Puppetmaster: Chen Ming-chang’s Talk on Creations (從「戀戀風塵」到「戲夢人生」:
陳明章談歌曲創作).” Chung-Wai Literature (中外文學) 25.2(1996): 139-145.
Cheng, Mei-li (鄭美里). “The visible and Invisible Cities: The Space and Gender in The
Daughter of Nile River and Millennium Mambo (看得見與看不見的城市:《尼羅河女
兒》、《千禧曼波》中的性別與空間).” FaAs: Film Appreciation Academic Section (電
影欣賞). 122(2005): 76-84. Print.
Chiao, Peggy (焦雄屏). “Dust in the Wind: the Sensation of Nature (戀戀風塵:有情天地).”
Taiwan New Cinema (台灣新電影). Ed. Peggy Chiao. Taipei: China Times, 1988.
144-147. Print.
Dong, Chi-xin (冬之心). “On the road: a review on Hou Hsiao-hsien’s Goodbye South,
Goodbye (在路上:觀侯孝賢《南國再見,南國》).” Rev. of Goodbye South, Goodbye,
by Hou Hsiao-hsien. 22 Feb. 2006. Web. 19 Mar. 2011.
DJ@llen, Lim Giong, Lin Zhi-jian (林志堅), Fish, and Cao Zi-jie (曹子傑). The Book of
Electronic Dance Music (電子舞曲聖經). Taipei: cité, 1999. Print
Guo, Li-juan (郭麗娟). “Sing Our Songs: Chen Ming-chang’s Songs of Heart (唱咱的歌陳
明章心曲風).” New Taiwan (新台灣週刊). 10 Mar. 2005. Web. 27 Mar. 2011.
Hou, Hsiao-hsien, dir. Boys from Fengkuei (風櫃來的人). Wan-nian-qing, 1983. Film.
Hou, Hsiao-hsien, dir. Dust in the Wind (戀戀風塵). Central Motion Picture Company, 1986.
Film.
Tseng 91
Hou, Hsiao-hsien, dir. Daughter of the Nile (尼羅河女兒). Xue-fu, 1987. Film.
Hou, Hsiao-hsien, dir. Good Men, Good Women (好男好女). Hou Hsiao-hsien dian-ying she,
1995. Film.
Hou, Hsiao-hsien, dir. Goodbye South, Goodbye (南國再見,南國). Hou, Hsiao-hsien
dian-ying she, 1996. Film.
Hou, Hsiao-hsien, dir. Millennium Mambo (千禧曼波). San-shi, 2001. Film.
Hou, Hsiao-hsien, dir. Café Lumière (珈琲時光). San-shi, 2003. Film.
Huang, Ting (黃婷). e Generation: Millennium Mambo and Sleepless Taipei (e 世代電影男女
雙人雅座——走入《千禧漫波》的台北不夜城). Taipei: Kadokawa, 2001. Print.
---. The Note of Millennium (千禧曼波電影筆記). Taipei: Mai-tien, 2001. Print.
Huang Mei-feng (黃美鳳). The Primary Research on the poetics in Hou Hsiao-hsien’s Films
(侯孝賢電影暨其美學意涵初探). Master’s Thesis. National University of Central,
1999.
Lan, Zu-wei (藍祖蔚). Film Music Composers (聲與影:20 位作曲家談華語電影音樂創作).
Taipei: Mai-tien, 2002. Print.
Lee, Da-yi (李達義). “Hou Hsiao-hsien’s Films and Life (侯孝賢的電影人生).” FaAs: Film
Appreciation Academic Section (電影欣賞). 99 (1999): 76-83. Print.
Lin, Chi-ming (林志明). “The Fantasy World of Time (時間的異想世界).” FaAs: Film
Appreciation Academic Section (電影欣賞). 109 (2001): 68-71. Print.
Lin, Wenchi (林文淇). “Taipei at the End of the Century in Taiwan Cinema (台灣電影中的世
紀末台北).” Revisiting Taipei: Metaphors and Metamorphoses (First International
Conference on Taipei-ology). Eds. Xian-hao Liao (廖咸浩) and Qiu-fang Lin (林秋芳).
Taipei: Department of Cultural Affairs, 2009. 103-116. Print.
---. “Remembering the Good Time in the Past: Hou Hsiao-hsien’s The Flight of the Red
Balloon (懷念過去的美好時光:侯孝賢的《紅氣球》).” Rev. of The Flight of the Red
Balloon, by Hou Hsiao-hsien. Funscreen (放映週報). 13 Jun. 2008. Web. 22 Jun. 2011.
Tseng 92
Liu, Paul K.C., and An-chi Tung. “Urban Development in Taiwan: Retrospect and Prospect.”
Journal of Population Studies. 26(2003): 1-25. Print.
Meng, Hong-feng (孟洪峰). “The Style of Hou Hsiao-hsien (侯孝賢風格論).” Passionate
Detachment: Films of Hou Hsiao-hsien (戲戀人生:侯孝賢電影研究). Eds. Wenchi
Lin, Jerome Li, and Shiao-ying Shen. Taipei: mai-tian, 2000. 29-59. Print.
Wu, Nien-jen (吳念真), and Chu Tian-wen (朱天文). The script of Dust in the Wind. Hong
Kong: Yuan Liu, 1989. Print.
Wu, Nien-jen (吳念真). These People, Those Things (這些人,那些事). Taipei: Yuan Shen
Publication, 2010. Print.
Wong, Wei (王瑋). “Taipei in Transformation: Taiwanese Cinema from the 80s to the 90s (走
出「台灣新電影」:轉變中的台北).” Focus on Taipei Through Cinema 1950-1990 (尋
找電影中的台北). Eds. Chen Ru-shou and Liao Gene-fan. Taipei: Wang Hsiang
Publications, 1995. 56-61. Print.
Yeh, Emilie Yueh-yu, Shiao-ying Snen, Jerome Li, and Wenchi Lin. “From Aesthetic of
Violence to Social Implication: The discussion on Goodbye South Goodbye (從暴力美
學到社會意涵:《南國再見,南國》座談會記).” Passionate Detachment: Films of Hou
Hsiao-hsien (戲戀人生:侯孝賢電影研究). Eds. Lin Wenchi, Li Jerome, and Shen
Shiao-ying. Taipei: mai-tian chu-ban, 2000. Print.
Yeh, Emilie Yueh-yu. “The Stuffy Globalized Space: Millennium Mambo (窒礙的全球化空
間:《千禧曼波》).” XSChina. 8 Mar. 2004. Web. 1 Jun. 2011.
Zhuo, Bo-tang (卓伯棠). Hou Hsiao-hsien: Master Class (侯孝賢電影講座). Guang-xi:
Guang-xi Normal University Press, 2009. Print.
指導教授 林文淇(Wenchi Lin) 審核日期 2011-8-30
推文 facebook   plurk   twitter   funp   google   live   udn   HD   myshare   reddit   netvibes   friend   youpush   delicious   baidu   
網路書籤 Google bookmarks   del.icio.us   hemidemi   myshare   

若有論文相關問題,請聯絡國立中央大學圖書館推廣服務組 TEL:(03)422-7151轉57407,或E-mail聯絡  - 隱私權政策聲明