試論新世紀(jì)以來的臺灣青春電影
發(fā)布時(shí)間：2018-11-25 20:27
【摘要】：21世紀(jì)以來的臺灣青春電影幾經(jīng)沉浮,終于有了令人欣慰的發(fā)展曲線。第一章的第一節(jié)分析了整個(gè)亞洲青春題材電影的大環(huán)境,具體介紹了日本、韓國、泰國、印度、臺灣等地的青春題材電影的發(fā)展環(huán)境、發(fā)展概況。第二節(jié)旨在闡述臺灣新一代青春電影的成功與本土元素的積極介入、臺灣當(dāng)局的特有電影體制、對本土青年心靈歷程的關(guān)注是分不開的。 第二章結(jié)合臺灣青春電影的成長、愛情、對抗等母題進(jìn)一步分析臺灣電影,根據(jù)不同類型人物的命運(yùn),自我認(rèn)知與獲取社會認(rèn)同的過程,進(jìn)一步揭示臺灣青春電影中,重視反應(yīng)人性、褒揚(yáng)善與美的藝術(shù)追求。另外,關(guān)注此類影片對于電影市場的把握,博得受眾喜愛的基本途徑。 本文第三章首先分析了當(dāng)前內(nèi)地青春電影的發(fā)展?fàn)顩r：一方面,青年文化作為一種亞文化被主流文化所侵蝕,阻礙了青春電影的發(fā)展；另一方面,內(nèi)地青春電影創(chuàng)作中商業(yè)元素和藝術(shù)元素相互對立,主旋律影片、娛樂片和藝術(shù)片有著截然不同的票房和影響力,青春電影很容易被票房誘惑,失卻思想性和審美特質(zhì)。其次,本章探討了臺灣青春電影在相關(guān)方面做法的可取之處。包括注重商業(yè)追求和精神探討相結(jié)合,適度引入流行元素等。最后,本文認(rèn)為,兩岸在青春電影產(chǎn)業(yè)上存在著較大的互補(bǔ)空間,完善相關(guān)的法律法規(guī),可促進(jìn)雙方發(fā)揮互補(bǔ)優(yōu)勢。
[Abstract]:After several ups and downs since the 21 st century, Taiwan youth films have finally had a gratifying curve of development. The first section of the first chapter analyzes the environment of the whole Asian youth films, and introduces the development environment and general situation of youth films in Japan, South Korea, Thailand, India, Taiwan and so on. The second section aims to explain that the success of the new generation of Taiwan youth films and the active involvement of local elements, Taiwan's unique film system, local youth pay attention to the spiritual process is inseparable. The second chapter further analyzes the Taiwan films based on the themes of growth, love, confrontation and so on. According to the fate of different types of characters, self-cognition and the process of obtaining social identity, it further reveals the youth films in Taiwan. Attach importance to reflecting human nature and praise the artistic pursuit of goodness and beauty. In addition, pay attention to this kind of film to the movie market grasp, win the basic way that the audience likes. The third chapter first analyzes the current situation of the development of youth films in the mainland: on the one hand, youth culture as a subculture is eroded by the mainstream culture, which hinders the development of youth films; On the other hand, the commercial and artistic elements of youth films in the mainland are in opposition to each other. Theme films, entertainment films and art films have very different box office and influence. Youth films are easily tempted by the box office. The loss of ideological and aesthetic characteristics. Secondly, this chapter discusses the relevant aspects of Taiwan youth film practice. Including the focus on commercial pursuit and spiritual exploration, moderate introduction of popular elements and so on. Finally, this paper argues that there is a large complementary space between the two sides in the youth film industry, and the improvement of relevant laws and regulations can promote the two sides to play complementary advantages.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
本文編號：2357287
[Abstract]:After several ups and downs since the 21 st century, Taiwan youth films have finally had a gratifying curve of development. The first section of the first chapter analyzes the environment of the whole Asian youth films, and introduces the development environment and general situation of youth films in Japan, South Korea, Thailand, India, Taiwan and so on. The second section aims to explain that the success of the new generation of Taiwan youth films and the active involvement of local elements, Taiwan's unique film system, local youth pay attention to the spiritual process is inseparable. The second chapter further analyzes the Taiwan films based on the themes of growth, love, confrontation and so on. According to the fate of different types of characters, self-cognition and the process of obtaining social identity, it further reveals the youth films in Taiwan. Attach importance to reflecting human nature and praise the artistic pursuit of goodness and beauty. In addition, pay attention to this kind of film to the movie market grasp, win the basic way that the audience likes. The third chapter first analyzes the current situation of the development of youth films in the mainland: on the one hand, youth culture as a subculture is eroded by the mainstream culture, which hinders the development of youth films; On the other hand, the commercial and artistic elements of youth films in the mainland are in opposition to each other. Theme films, entertainment films and art films have very different box office and influence. Youth films are easily tempted by the box office. The loss of ideological and aesthetic characteristics. Secondly, this chapter discusses the relevant aspects of Taiwan youth film practice. Including the focus on commercial pursuit and spiritual exploration, moderate introduction of popular elements and so on. Finally, this paper argues that there is a large complementary space between the two sides in the youth film industry, and the improvement of relevant laws and regulations can promote the two sides to play complementary advantages.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
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，本文編號：2357287
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