發(fā)布時間：2018-07-09 11:57

  本文選題：眷村 + 臺灣電影��； 參考：《南京師范大學》2017年碩士論文

【摘要】：上世紀八十年代,一批反映眷村風貌與眷村人生活的電影作品被集中創(chuàng)作出來,在短暫的創(chuàng)作風潮之后,九十年代眷村題材電影發(fā)展的初衰之癥業(yè)已顯現(xiàn)。進入新世紀,眷村題材電影的創(chuàng)作陷入谷底,眷村題材影視創(chuàng)作轉(zhuǎn)而向電視領域擴展,一批眷村題材電視劇出現(xiàn),此題材影視作品的投資、拍攝、映演等也擴展至大陸地區(qū)。眷村題材影視作品的創(chuàng)作歷經(jīng)三十幾年的發(fā)展,形成了一些較為明顯的特征。在文化內(nèi)涵方面,作品突出了以中華文化為主導,融入多種其他文化的眷村文化,反映了眷村人在省籍身份上的不同表述,以及在國族身份上的雙重確認,并借由眷村一代對大陸印象的回憶、想象與重建,描繪了三個各異的大陸形象,充分顯示了眷村題材影視作品在文化上的豐富內(nèi)涵。就眷村題材影視作品的敘事與視聽而言,其視聽語言表現(xiàn)出中國各地文化元素的多元并置,以及時代符號的大量運用的特點,敘事上表現(xiàn)出了情節(jié)時間的順序化與敘事空間的固定化的特點。眷村題材影視作品“和而不同”,各個作品之間雖有共性,但亦有差異。眷村題材電影注重表現(xiàn)個體,眷村題材電視劇則著力刻畫眷村人物群像,表現(xiàn)眷村日常生活。不同地域創(chuàng)作的眷村題材影視作品亦有所差別。臺灣的眷村題材影視作品展現(xiàn)眷村生活,凸顯在地認同,大陸的眷村題材影視作品則展示離散苦難,凸顯中國認同。通過眷村題材影視作品,我們不僅可以深入了解眷村,反思眷村文藝作品所塑造的眷村神話,更可由此窺探臺灣的政治、經(jīng)濟、文化發(fā)展歷程。
[Abstract]:In the eighties of the last century, a number of films reflecting the style and life of the family members were created. After a brief period of creation, the decline of the development of the family village films in the 1990s has become apparent. In the new century, the creation of family village theme films has fallen into a trough. The creation of family village films and television has been expanded to the television field. A number of TV dramas on the subject of family affairs have appeared. The investment, shooting, and performance of this theme film and television works have also been extended to the mainland. After more than 30 years of development, the creation of TV works on the subject of family affairs has formed some obvious characteristics. In terms of cultural connotation, the works highlight the village culture of the family, which is dominated by Chinese culture and incorporated into many other cultures, and reflects the different expressions of the provincial identity of the people living in the village and the dual recognition of the identity of the national people. And by the memory, imagination and reconstruction of the impression of the mainland, the three different images of the mainland are depicted, which fully shows the rich cultural connotation of the film and television works on the subject of the village. As far as the narration and audiovisual aspects of the TV works on the subject of military affairs are concerned, the audio-visual language shows the pluralistic juxtaposition of cultural elements in various parts of China, as well as the extensive use of the symbols of the times. Narration shows the characteristics of sequentialization of plot time and immobilization of narrative space. Although there are commonalities, there are also differences between the various works. Family Village movies focus on the performance of the individual, family TV drama focus on portraying the village figures, the daily life of the village. Different regions of the creation of the subject matter of the village film and television works are also different. Taiwan's TV works on the theme of the village show the life of the village, highlighting the local identity, while the mainland's TV works on the subject of the village show discrete suffering, highlighting the identity of China. Through the film and television works on the subject, we can not only deeply understand the village and reflect on the mythology of the village created by the literary works of the village, but also probe into the political, economic and cultural development of Taiwan.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905

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相關期刊論文 前6條

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本文編號：2109287