本文選題：臺(tái)灣電影 + 本土文化��； 參考：《山東師范大學(xué)》2017年碩士論文

【摘要】：新世紀(jì)以來,臺(tái)灣電影經(jīng)歷起伏轉(zhuǎn)折,從低谷走出,逐漸顯露所謂“復(fù)興”勢(shì)頭,一些電影獲得了兩岸三地的認(rèn)可,這其中有很多影片因其共有的濃厚“臺(tái)味”形成當(dāng)下臺(tái)灣電影鮮明的風(fēng)格,獲得不俗的票房與口碑,這些影片傳達(dá)出的內(nèi)核實(shí)質(zhì)上是臺(tái)灣地區(qū)本土文化的內(nèi)涵。2005年,臺(tái)灣電影輔導(dǎo)金加大了對(duì)反映臺(tái)灣地區(qū)本土題材影片的創(chuàng)作獎(jiǎng)勵(lì):“目前法規(guī)認(rèn)為必須含有臺(tái)灣精神、風(fēng)情、人文這種抽象的觀念的國(guó)片才是值得輔導(dǎo)金輔助的”,因此,臺(tái)灣電影中對(duì)本土文化的展現(xiàn)成為臺(tái)灣電影重要的組成部分,臺(tái)灣電影如何闡述本土文化,臺(tái)灣電影體現(xiàn)出的本土文化內(nèi)涵是什么,都成為探看臺(tái)灣電影的重要方式。本文對(duì)新世紀(jì)以來臺(tái)灣電影中本土文化的書寫方式做了分析。因臺(tái)灣地區(qū)的本土文化是中華文化必不可少的組成部分,緒論厘清臺(tái)灣地區(qū)本土文化與中華文化的關(guān)系,分析臺(tái)灣地區(qū)本土文化的起源與臺(tái)灣地區(qū)本土文化在近現(xiàn)代的發(fā)展,對(duì)臺(tái)灣地區(qū)本土文化的幾個(gè)重要向度和突出特征進(jìn)行時(shí)間線的梳理。正文共分為三個(gè)部分:第一章主要分析新世紀(jì)以來臺(tái)灣電影中的本土文化類型;第二章分析新世紀(jì)以來臺(tái)灣地區(qū)本土文化在電影中的表現(xiàn)特征;第三章對(duì)新世紀(jì)以來臺(tái)灣電影注重本土文化表達(dá)的原因進(jìn)行探析。第一章分為三個(gè)部分,分析新世紀(jì)以來臺(tái)灣電影中呈現(xiàn)出的三種本土文化類型:一是原鄉(xiāng)文化,主要分析電影中原住民及外省人對(duì)原鄉(xiāng)的情感和記憶;二是本土景觀文化,從人文景觀和自然景觀兩方面分析本土景觀文化在電影中的呈現(xiàn);三是邊緣文化,主要分析原住民文化、跨性別戀文化以及新移民文化三個(gè)方面。第二章分為三個(gè)部分,分析新世紀(jì)以來臺(tái)灣電影中本土文化的特征:一是電影中的本土空間,包括城市與鄉(xiāng)村、本土典型空間以及電影中的本土物像三個(gè)方面;二是本土人物,主要分析“臺(tái)客”及黑幫兩種人物形象;三是本土的宗教信仰,包括宗教信仰的種類、宗教場(chǎng)所及活動(dòng)、宗教人物幾個(gè)方面。第三章分為三個(gè)部分,主要分析新世紀(jì)以來臺(tái)灣電影注重本土文化表達(dá)的原因:一是臺(tái)灣地區(qū)本土意識(shí)的興起使臺(tái)灣擺脫沉重的歷史桎梏并不斷重塑當(dāng)下的新形象;二是臺(tái)灣電影的政策對(duì)影片風(fēng)格及產(chǎn)業(yè)發(fā)展產(chǎn)生的影響;三是新興電影形態(tài)即城市行銷影片對(duì)臺(tái)灣電影本土文化書寫的影響,并分析其興起緣由和現(xiàn)狀及對(duì)臺(tái)灣電影書寫本土文化產(chǎn)生的重要影響。本文對(duì)臺(tái)灣電影本土文化的表達(dá)特點(diǎn)進(jìn)行剖析,通過對(duì)新世紀(jì)以來臺(tái)灣電影中本土文化書寫方式的探討,進(jìn)一步發(fā)掘臺(tái)灣地區(qū)本土電影的書寫方式,為臺(tái)灣電影在本土文化表達(dá)和商業(yè)利益之間尋求平衡點(diǎn)提供有益借鑒。
[Abstract]:Since the new century, Taiwanese films have experienced ups and downs and have emerged from the trough and gradually revealed the momentum of the so-called "renaissance". Some films have gained recognition from the three places on both sides of the strait. Many of these films, because of their strong "Taiwan flavor", formed the distinctive style of current Taiwan films and gained good box-office and word-of-mouth. The core of these films is essentially the connotation of local culture in Taiwan. In 2005, The Taiwan Film guidance Fund has increased the reward for the creation of films that reflect local themes in the Taiwan region: "at present, the laws and regulations consider that only national films with abstract concepts such as Taiwanese spirit, customs and humanism are worthy of assistance from the tutoring fund." The display of local culture in Taiwan films has become an important part of Taiwan films. How Taiwanese films explain local culture and what the connotation of local culture embodied in Taiwan films have become an important way to explore Taiwan movies. This paper analyzes the writing style of native culture in Taiwanese films since the new century. Because the native culture of Taiwan is an indispensable part of Chinese culture, the introduction clarifies the relationship between the native culture of Taiwan and Chinese culture, and analyzes the origin of local culture in Taiwan and the development of local culture in Taiwan in modern times. This paper combs several important aspects and prominent features of Taiwan's native culture. The text is divided into three parts: the first chapter mainly analyzes the local culture types in Taiwan films since the new century, the second chapter analyzes the performance characteristics of Taiwan native culture in the film since the new century. The third chapter explores the reasons why Taiwanese films attach importance to the expression of local culture since the new century. The first chapter is divided into three parts, which analyze the three types of native culture in Taiwanese films since the new century: first, the native culture, which mainly analyzes the feelings and memories of the native people and the mainlanders to the native country; and the second, the local landscape culture. This paper analyzes the presentation of native landscape culture in the film from two aspects: humanistic landscape and natural landscape; third, marginal culture, mainly analyzing aboriginal culture, transgender love culture and new immigrant culture. The second chapter is divided into three parts, analyzing the characteristics of local culture in Taiwanese films since the new century: first, the local space in the film, including the city and country, the local typical space and the local image in the film; the second, the local characters. The third is the local religious belief, including the types of religious beliefs, religious sites and activities, religious figures several aspects. The third chapter is divided into three parts, mainly analyzing the reasons why Taiwanese films pay attention to the expression of local culture since the new century: first, the rise of local consciousness in Taiwan makes Taiwan get rid of the heavy historical shackles and constantly reshape the new image of the present; The second is the impact of the Taiwan film policy on the film style and the development of the industry, and the third is the impact of the emerging film form, that is, the city marketing film, on the writing of Taiwan's local film culture. It also analyzes the reason and present situation of its rise and its important influence on the native culture of Taiwan film writing. This paper analyzes the expression characteristics of Taiwan film native culture, through the discussion of the writing mode of local culture in Taiwan film since the new century, further excavates the writing mode of Taiwan local film. To provide useful reference for Taiwan film to seek the balance between local cultural expression and commercial interests.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 嚴(yán)芳芳;;當(dāng)下臺(tái)灣電影中的“外籍勞工”形象[J];南京師范大學(xué)文學(xué)院學(xué)報(bào);2015年02期

2 李洋;;臺(tái)灣電影的本土回潮現(xiàn)象及潛層結(jié)構(gòu)[J];廈門理工學(xué)院學(xué)報(bào);2014年06期

3 黃鐘軍;;鄉(xiāng)關(guān)何處——新臺(tái)灣電影中的空間流變[J];當(dāng)代電影;2014年08期

4 孫慰川;賈斌武;;身份認(rèn)同危機(jī)與臺(tái)灣形象重塑——論21世紀(jì)初期的臺(tái)灣電影[J];當(dāng)代電影;2014年06期

5 于麗娜;;從被塑造的客體到以主體的身份自我呈現(xiàn)——試析光影世界中的臺(tái)灣原住民[J];當(dāng)代電影;2013年10期

6 賈斌武;;論新世紀(jì)臺(tái)灣電影中的本土意識(shí)書寫[J];齊魯藝苑;2012年05期

7 黃勻祺;;2000年后臺(tái)灣電影產(chǎn)業(yè)的轉(zhuǎn)向——去在地化與再次在地化[J];當(dāng)代電影;2012年10期

8 韓琛;;臺(tái)灣“后新電影:”庶民美學(xué)與本土想象——以《海角七號(hào)》、《艋，

本文編號(hào)：2008550