查詢結果分析
來源資料
頁籤選單縮合
題名 | 影像外的敘事策略:校園民歌與政宣電影=Beyond Visual Narration: College Folk Songs and Policy Films |
---|---|
作者 | 葉月瑜; | 書刊名 | 新聞學研究 |
卷期 | 59 1999.04[民88.04] |
頁次 | 頁41-65 |
專輯 | 電影、市場與傳播環境 |
分類號 | 913.5 |
關鍵詞 | 本土主義; 政宣電影; 校園民歌; 修正民族主義; 健康寫實主義電影; 電影音樂; Nativism; Policy film; Revised nationalism; College folk; Health realism; film music; |
語文 | 中文(Chinese) |
中文摘要 | 流行音樂與電影曾是兩個最緊密配合的傳媒,協助臺灣政府在戰後建構國家認 同及國族身份。本論文所探討的議題為:此兩項關係密切的傳媒在建構一現代、反共、儒 教的中國認同時,所扮演的角色為何?媒體如何運用其特質來呈現一牢不可破的國家身份 ?而歷史環境和社會政治變遷又如何重整國族身份的內觀外貌?此外,電影作者又如何運 用電影音樂、電影類型及電影風格來進行影像外的政治敘事?為逐一回答這些問題,本文 設定以入十年代初期政宣片(《龍的傳人》),健康寫實主義電影(《早安,臺北》),及七 十年代的校園民歌運動,來研究流行音樂與電影之互動的演變。分析得知,電影與流行音 樂的關係是呈循環的特續狀態;同時,由於中國身份的被質疑,認同政治成為流行音樂重 要的主題,在新音樂中不斷以不同的曲式和語言呈現修正型之中國民族主義。於此,在意 識型態的轉移和文化商品機制的土等下,形成的國族認同,包含商業、政治與藝術的交互 運作。 |
英文摘要 | Popular music and film were the two media most engaged in assisting the state to construct national identity in postwar Taiwan. What role did they play in creating a modern, anti-communist, and Confucian-oriented Chinese identity? How did the media use their specific characteristics to represent an unequivocal Chinese identity? How did historical environments and sociopolitical changes reformulate the makeup of this national identity? How did film directors use film music, genre, and style to respond to the changes? In order to answer these questions, this study examines the relationship between the college folk movement of the 1970s and policy films (Land of the Brave, 1981) and health realist films (Good Morning, Taipei, 1980) of the early 1980s. The analysis shows that identity politics occupied a central role in college folk music and popular cinema, due to the late 1970s' collapse of the concept of nationalism based on a unified Chuina. The combination of this ideological shift and the introduction of advanced cultural commodity apparatuses forms a national identity characterized by shifting loci of commnerce, politics and art. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。