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| 題 名 | 馬華電影的土腔風格:以黃明志《辣死你媽!2.0》為例=The Accented Style of the Sinophone Malaysian Film: A Case Study on Namewee's NasiLemak 2.0 |
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| 作 者 | 許維賢; | 書刊名 | 東方文化 |
| 卷 期 | 48:2 2016.03[民105.03] |
| 頁 次 | 頁75-95 |
| 分類號 | 987.9 |
| 關鍵詞 | 華語語系; 土腔風格; 馬華電影; 反離散; 本土化; 黃明志; 辣死你媽!2.0; Sinophone; Accented style; Sinophone Malaysian film; Against-diaspora; Localization; Namewee; NasiLemak 2.0; |
| 語 文 | 中文(Chinese) |
| DOI | 10.30227/JOS.201603_48(2).0005 |
| 中文摘要 | 本文從華語語系和土腔電影理論的角度,探討馬華電影《辣死你媽!2.0》的土腔風格,在去畛域化和再畛域化的旅程中,如何通過聲音和影像表現華語語系的認同。本文分析馬華電影對華巫關係的再現,發現馬華電影不停留在族群的規範框架,反而借助其土腔風格,充分發揮華語語系理論的“多元調節”和“多向”的批判“能動力”,既批判“本真性”的中國化論述,也通過表現國族認同,抵抗現實的種族主義,更揭露和反思巫族對“原住民性”的迷思。 |
| 英文摘要 | This paper uses Sinophone theory and accented cinema theory to explore how the accented style of NasiLemak 2.0 uses sound and image to perform Sinophone identity in the films' journey of deterritorialization and reterritorialization. This paper analyses the re-presentation of Sino-Malay relations in Sinophone Malaysian film and discovers that it refuses to rest on the standard ethnic framework. Rather, the accented style of these films gives play to the multiply mediated, multidirectional critical agency of Sinophone theory: the Sinification discourse of "authenticity" is criticized, while at the same time a performance of national identities is used to resist the presence of racismand expose the essentialized Malay mythologizationof indigeneity. |
本系統中英文摘要資訊取自各篇刊載內容。