請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/50964
標題: | 猶太大屠殺電影:再現的危險與義務 The Cinema of the Shoah: Dangers and Duties of Representation |
作者: | Samantha Shih-Hsin Ting 丁士欣 |
指導教授: | 齊東耿(Duncan McColl Chesney) |
關鍵字: | 猶太大屠殺電影,浩劫,再現,索爾之子,不可再現性, Holocaust cinema,Shoah,representation,Son of Saul,unrepresentability, |
出版年 : | 2020 |
學位: | 碩士 |
摘要: | 本論文重探並問題化猶太大屠殺的「不可再現性」,檢視此主題的電影作品以呈現它們的強項與缺失,重申此類再現的困難與紀念的急迫性。緒論追溯曾探討「理解與再現的不可能」的書寫,並援引洪席耶(Jacques Rancière)、羅斯(Gillian Rose)與迪迪-于貝爾曼(Georges Didi-Huberman),指出在處理巨大如猶太大屠殺的事件時,這些概念為何可能具限制性或過度簡化,而後指出電影在此領域的優勢,以及追蹤相關詞彙的發展。第一章探討具開創性、並奠定猶太大屠殺電影意象的作品,《夜與霧》(Nuit et brouillard)與《浩劫》(Shoah),也簡要討論《電影史》(Histoire(s) du cinéma)的一節,對比三部作品差異極大的再現策略,顯示電影處理此一主題的能力與導演的意識形態分歧。第二章聚焦於《冷眼殺機》(The Grey Zone,又譯《灰色地帶》)與《索爾之子》(Saul fia):援引南希(Jean-Luc Nancy)對於「禁忌再現」的書寫,探索猶太大屠殺的空缺之處毒氣室,以及負責毒氣室的工作隊(Sonderkommando),剖析兩部作品的影像與敘事策略。第三章綜觀以猶太大屠殺為題的近期喜劇,強調喜劇類型消除觀眾警戒心的能力,以及其中隱含的問題,意即幽默是如何被創造、敘事又如何鼓勵不同的認同。第四章則轉向關注以色列電影:由於其特殊歷史背景,以色列電影中的猶太大屠殺再現能提供不同於歐陸或北美製作的可能性。本章亦指出倖存者第二與第三世代如何仍受到大屠殺影響,以及與此題材距離過近可能會使人們過於執著、卻無法看清全局,這些洞察與限制都有助於理解與探討猶太大屠殺紀念。綜合上述,本論文探討了奧許維茲再現的多重方式,而後以阿多諾(Theodor W. Adorno)提出的「新定言令式」作結,並強調如此的再現必須具自覺性,以及在文本中認知其不足之處。 This thesis revisits and problematises the notion of unrepresentability concerning Holocaust representation, examines cinematic works of the subject to demonstrate their strengths and shortcomings, and concludes by reiterating the difficulty and the urgency of such remembrance. In the introduction I trace the notion of the impossibility of comprehension and representation and why such an idea can potentially be limiting or reductive when dealing with atrocities of the magnitude of the Shoah, drawing from Jacques Rancière, Gillian Rose, and Georges Didi-Huberman, before arguing for cinema’s particular strength in this field and detailing the development of relevant terminology. The first chapter looks at the foundational films that have defined Holocaust imagery in cinema to approach the idea of a Holocaust cinema, Night and Fog [Nuit et brouillard] and Shoah, while also bringing Histoire(s) du cinéma into the discussion, contrasting the vastly different representational strategies that are demonstrative of cinema’s capacity to interrogate the Holocaust and the ideological differences of the directors. The second chapter explores The Grey Zone and Son of Saul [Saul fia] in detail: citing Jean-Luc Nancy’s discussion of forbidden representation, I analyse in specific the lacuna of the Holocaust, the gas chambers, and the Sonderkommando who operated them, and contrast the different cinematic and narrative strategies used in the two films. The third chapter provides a survey of recent filmic treatments of the Shoah via comedy, emphasising not only their capacity of disarming charm but also the inherent problems within, that is, how the laughter is created and what different identifications are encouraged by the narrative. In chapter four, my focus shifts to Israeli cinema, for its particular historical background has given birth to representations that take paths different from the more mainstream European or North American productions. Their insight and limitations are addressed: how the second and third generation will be impacted by the Shoah, and how close proximity with the subject, can paradoxically make people more preoccupied with it yet more reluctant or incapable to see it clearly, can both add to our understanding and exploration of Shoah remembrance. The discussion in these chapters explores a multitude of ways representation of Auschwitz can be approached, with a conclusion citing Adorno’s “new categorical imperative” and emphasises that such representations must be self-aware and acknowledge their inherent inadequacy. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/50964 |
DOI: | 10.6342/NTU202002842 |
全文授權: | 有償授權 |
顯示於系所單位: | 外國語文學系 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
U0001-1008202017005800.pdf 目前未授權公開取用 | 15.47 MB | Adobe PDF |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。