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標題: | 邱剛健電影初探:論美學範式之形塑與移轉 The Study of Aesthetic Formation and Transformation in Qiu Gang Jian’s Films |
作者: | Dian-An Yang 楊殿安 |
指導教授: | 黃建業(Chien-Yeh Huang) |
共同指導教授: | 林于湘(Yu-Shian Lin) |
關鍵字: | 邱剛健,現代主義,獵奇,武俠功夫電影,香港新浪潮,華語電影史, Qiu Gang Jian,Modernism,Grotesque,Sword and Martial Arts Film,Hong Kong New Wave,Mandarin Films History., |
出版年 : | 2019 |
學位: | 碩士 |
摘要: | 1960年代「現代主義在台灣」深深影響台灣文人,劇作家邱剛健以極富現代況味的美學手法,率先實踐漢語現代戲劇的翻譯與創作之路。自1966年後,邱剛健從台灣文壇轉進香港影壇,以其鮮明的作者意識,將「性與死亡」的書寫母題轉化成商業編劇策略,成為香港武俠類型片中獨特的「獵奇標籤」。1974年後邱剛健返台,在台灣武俠功夫電影類型中重拾創作初心,重新探尋原創故事概念。1980年後,邱剛健重返香港並與香港新浪潮導演共同激盪出燦爛的創作火花。本論文旨在初探邱剛健電影如何因應不同階段的商業體制、電影類型與作者導演,進而形塑/重塑美學範式的軌跡,以此建構一段關於邱剛健的華語電影史。 “Modernism in Taiwan” movement has deeply influenced 1960’s Taiwanese writers including Qiu Gang Jian, who pioneered distinctive modern aesthetics in the playwriting and translation of Mandarin drama. Since 1966, with unique writing style, Qiu Gang Jian had made himself one of a critical writer in Hong Kong film industry, applying his “sex and death” motif to commercial screenwriting, which become a “grotesque icon” in Hong Kong Swordplay Films. Back to Taiwan in 1974, Qiu Gang Jian regained his passion for original screenplays and elaborated the core idea of his writing in Taiwan Swordplay and Martial Arts films genres. After 1980, Qiu Gang Jian returned to Hong Kong, devoting himself to his golden career with directors of Hong Kong New Wave. The thesis aims to generally explore Qiu Gang Jian films’ aesthetic formation and transformation in different period of commercial institutes, films genres and directing authors with an intention to construct a history of Qiu Gang Jian’s legacy in Mandarin cinema. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/73312 |
DOI: | 10.6342/NTU201900759 |
全文授權: | 有償授權 |
顯示於系所單位: | 戲劇學系 |
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