頁籤選單縮合
題 名 | Authorship in Serial Killer Narratives: David Fincher's Se7en=連續殺人敘事中的作者--論大衛.芬奇的《火線追緝令》 |
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作 者 | Hantke, Steffen; | 書刊名 | 中山人文學報 |
卷 期 | 12 民90.04 |
頁 次 | 頁75-95 |
專 輯 | 島與半島:臺灣文學與亞細安文學 |
分類號 | 987.952 |
關鍵詞 | 連續殺人敘事; 作者身分; 火線追緝令; 現代主義; 後現代主義; Serial killer narrative; Authorship; Se7en; Modernism; Postmodernism; |
語 文 | 英文(English) |
中文摘要 | 連續殺人敘事在通俗電影如大衛.芬奇導演的《火線追緝令》中,往往將殺人犯與警探間的衝突描寫成作家間的競逐與角力。兇手在犯案與逍遙法外的過程中,既構築自己的故事,同時也替探員建構敘事,而警探則需費力改寫情節以將歹徒繩之以法。《火線追緝令》裡頭文本性產物的符號代現比比皆是。尤有甚者,芬奇刻意將兩種作者立場分別等同於現代主義與後現代主義現象,進一步探討現代主義作為對抗充斥電影本身的後現代主義論述的種種可能。 |
英文摘要 | Popular serial killer narratives, like David Fincher’s film Se7en, stage the conflict between killer and detective as one of competing authors. While committing the crime and covering his tracks, the murderer constructs a narrative for the detective, who, in turn, needs to rewrite the received story so that it will serve and reaffirm the social order. Iconic representations of textual production abound throughout Se7en. Moreover, Fincher goes to great extent to identify the two authorial positions with the agenda of, respectively, modernism and postmodernism, exploring, in the process, the possibilities of modernism as a counter-ideology to the prevailing postmodernist discourse of the film itself. |
本系統中英文摘要資訊取自各篇刊載內容。