查詢結果分析
來源資料
相關文獻
- Let's Fall in Love...to Stay Healthy-Whether and How Qiong Yao's Romance Fits into Healthy Realism
- 從梁祝與七世夫妻談浪漫愛及其他
- 春花秋月何時了:浪漫愛情片與文藝片的分野
- 重慶之民,自由之國:「後1949」臺灣小說中「民國文學機制」的承繼與演繹
- 下崗女工、苦情戲及中國電視劇的情感空間
- 浪漫愛的翻譯--由《茶花女》到珍.奧斯汀
- 權力的技術與技術的權力︰臺灣疫苗採用的歷程分析
- 虛寫的國族與愛情--從李昂《七世姻緣之台灣/中國情人》談全球化下的家國想像與情愛論述
- 尋找在場的生命倫理學:讀子安宣邦〈近代日本與兩種倫理學〉有感
- Demystifying the Fantasies of Normalcy: The Discursive Construction of Disability in the Nineteenth Century
頁籤選單縮合
題 名 | Let's Fall in Love...to Stay Healthy-Whether and How Qiong Yao's Romance Fits into Healthy Realism=因為愛, 所以健康--瓊瑤電影在健康寫實風潮中的定位 |
---|---|
作 者 | 林宛瑄; | 書刊名 | 文山評論:文學與文化 |
卷 期 | 7:1 2013.12[民102.12] |
頁 次 | 頁33-63 |
分類號 | 987.933 |
關鍵詞 | 健康寫實主義; 瓊瑤愛情小說; 情節劇; 浪漫愛; 情感條件; 生命權力; 蚵女; 婉君表妹; Healthy realism; Qiong Yao's romance; Melodrama; Romantic love; Affective condition; Bio-power; Oyster Girl; Four Loves; |
語 文 | 英文(English) |
中文摘要 | 中影公司於一九六三年開始製作健康寫實電影,目標為反映社會現實並推廣特定道德價值。研究此一電影風潮的學者,對於如何定位一系列由知名健康寫實電影導演所導改編自瓊瑤愛情小說的影片,卻自始至今皆未達成定論。本論文的目的在於重啟相關討論,藉由重探「健康寫實」的定義,思考浪漫愛在此一類型定義中的定位。論文第一部分旨在探討,原被設計為宣達政府經濟政策所用的健康寫實電影,究竟是否寫實又如何寫實,並思考浪漫劇情如何輔助此一類型電影對於寫實的要求。論文第二部分則將《蚵女》及《婉君表妹》這兩部電影(前者為中影第一部健康寫實片;後者則為第一部以瓊瑤小說為本的電影,同時,儘管仍有爭議,也多有人將之歸為健康寫實電影的代表作之一)並置討論,旨在於探討健康寫實電影所欲處理的社會現代化進程,並由此凸顯浪漫愛如何作為一種情感條件,來啟動現代化進程中不可或缺的生命權力。本文的結論是,浪漫劇情與健康寫實類型的關係以及浪漫愛對健康寫實電影中生命權力圖象的重要性,即是健康寫實導演改編瓊瑤愛情小說的重要原因之一。由此觀之,瓊瑤愛情電影亦具備「健康寫實性」。 |
英文摘要 | As a film genre devised both to reflect social realities andto promote moral values, healthy realism was introduced into theTaiwanese cinema scene by the Central Motion Picture Corporation (CMPC) in 1963. Since then, an issue that remainsan academic conundrum for the scholars of this type of film iswhether and how screen adaptations of Qiong Yao’s novels by filmmakers working in the healthy realism genre fit into themodel. This paper seeks to enter the debate by revisiting thegeneric features of healthy realism and reassess the role playedby romantic love in this style of movie. The first part of thispaper revisits the definition of “healthy realism,” analyzing whythe genre remains within the scope of realism despite its intended as government propaganda, and explores the effects of romuseantic melodrama in achieving the realist aim of the model. The second part of the paper features analyses of the plots ofOyster Girl and Four Loves with the intention of discerning themotive force of the society of which healthy realism films sought to treat, an undertaking which leads to the discovery that romantic love is an essential element of healthy realism when itserves as the affective condition for bio-power and thus supportsthe modernization efforts described by the film model. The reliance on melodramatic devices and the significance of romantic love to the underlying social relations pave the way forthe entry of Qiong Yao’s romance into the healthy realism genre. |
本系統中英文摘要資訊取自各篇刊載內容。