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| ???org.dspace.app.webui.jsptag.ItemTag.dcfield??? | Value | Language |
|---|---|---|
| dc.contributor.advisor | 陳春燕(Chun-yen Chen) | |
| dc.contributor.author | Yeong-Chwen Jin | en |
| dc.contributor.author | 金永純 | zh_TW |
| dc.date.accessioned | 2022-11-23T09:00:15Z | - |
| dc.date.available | 2022-10-16 | |
| dc.date.available | 2022-11-23T09:00:15Z | - |
| dc.date.copyright | 2021-11-05 | |
| dc.date.issued | 2021 | |
| dc.date.submitted | 2021-10-19 | |
| dc.identifier.citation | Filmography Taipei Story [Chingmei Chuma]. Dir. Edward Yang. CMPC, 1982. Film. The Terrorizers [Kong Bu Feng Zi]. Dir. Edward Yang. CMPC, 1986. Film. Yiyi [Yiyi]. Dir. Edward Yang. Criterion Collection, 2000. Film. Works Cited Ahmad, Aijaz. “Jameson’s Rhetoric of Otherness and the ‘National Allegory.’” Duke University Press 17.3 (1987): 3-25. Print. Alberti, Leon Battista. Leon Battista Alberti: On Painting: A New Translation and Critical Edition. Cambridge: Cambridge UP, 2011. Print. Anderson, John. Edward Yang. Chicago: U of Illinois P, 2005. Print. Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. Cambridge: MIT, 2000. Print. Bordwell, David, Kristen Thompson, and Jeff Smith. Film Art: An Introduction. 11th ed. New York: McGraw-Hill Education, 2017. Print. Bousquet, Antoine. The Eye of War: Military Perception from the Telescope to the Drone. Minneapolis: U of Minnesota P, 2018. Print. Braester, Yomi, and James Tweedie. Cinema at the City’s Edge: Film and Urban Networks in East Asia. Hong Kong: U of Hong Kong P, 2010. Print. Braudy, Leo, and Marshall Cohen. Film Theory and Criticism: Introductory Readings. 7th ed. Oxford: Oxford UP, 2009. Print. Chang, Ivy I-Chu. “The Falsifying Force of the 'Forgers': Sex, Lies, and Violence in Edward Yang's Terrorizers.” Chung-Wai Literary Quarterly 33.3 (2004): 15-37. Print. Chiang Ling-Ching. “Cong meijie dao jianzhu: Yang Dechang ruhe liyong duochong meijie lai chengxian Yi Yi li de Taibei” [“From Media to Architecture: How Edward Yang Applies Multiple Media to Depict Taipei”]. Journal of Art Studies 9 (2011):167-209. Print. Deleuze, Gilles. “Postscript on the Societies of Control.” October 59 (1992): 3-7. Print. Dermer, Rachelle A. “Photographic Objectivity and the Construction of the Medical Subject in the United States (Eadweard Muybridge, John Shaw Billings, Elizabeth Fleischmann).” Diss. Boston U, 2002. NTU Library. Web. 20 Feb. 2020. Ebert, Roger. “Yiyi.” Roger Ebert.com. Roger Ebert, 02 Mar. 2001. Web. 17 Aug. 2021. Feng, Pin-Chia. “National/Family Romance in Edward Yang's Yi Yi.” Chung-Wai Literary Quarterly 33.3 (2004): 63-79. Print. Franklin, Seb. Control. Cambridge: MIT, 2015. Print. Friedberg, Anne. The Virtual Window: From Alberti to Microsoft. Cambridge: MIT, 2006. Print. Frodon, Jean-Michel. Yangdechang de dianyin shihjie [Edward Yang’s cinema] Trans. Hai-di Yang and Shou-nung Feng. Paris: Editions de l’eclat, 2010. Print. Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory, Culture and Society 30.6 (2013): 66-82. Print. Gong, Jow-Jiun. “We Can Be the Knowledge Producer for Ourselves: Taiwan New Cinema as Modernology and Contemporary Art.” Art Critique of Taiwan July 2015: 90-104. Print. Horn, Eva. “There are No Media.” Grey Room 29.3 (2007): 7-13. Print. Huhtamo, Erkki, and Jussi Parikka. Media Archaeology: Approaches, Applications, and Implications. Berkeley: U of California P, 2011. Print. Jameson, Fredric. “Remapping Taipei.” Geopolitical Aesthetic: Cinema and Space in the World System. Indiana: Indiana UP, 1995. 114-57. Print. Krauss, Rosalind. “Grids.” October 9.2 (1979): 50-64. Print. Lee, Hsiu-Chuan. “Who Knows What S/he Wants?”: Taipei in Edward Yang's Meta-Discourse of Newness.” Chung-Wai Literary Quarterly 33.3 (2004): 39-61. Print. Liang, Xin-hua. The Death of the New Cinema. Taipei: Tang-Shan, 1991, Print. Lin, Jin-Ann. “The Production of Taipei Walkups—Interactions Between the Modern and the Vernacular.” Diss. National Taiwan U, 2015. Airiti Library. Web. 20 Feb 2020. McLuhan, Marshall. Understanding Media: The Extensions of Man. New York: McGraw-Hill, 1964. Print. Mitchell, W.J.T. and Mark B.N. Hansen. Critical Terms for Media Studies. Chicago: U of Chicago P, 2010. Print. Ott, John. “Iron Horses: Leland Stanford, Eadweard Muybridge, and the Industrialised Eye.” Oxford Art Journal 28.3(2005): 409-28. Print. Reinhold, Martin. “Unfolded, Not Opened: On Bernhard Siegert’s Cultural Techniques.” Grey Room 62 (2016): 102-15. Print. Savat, David. Uncoding the Digital: Technology, Subjectivity and Action in the Control Society. London: Palgrave Macmillan UK, 2013. Print. Schüttpelz, Erhard. “The Media-Anthropological Turn of Cultural Techniques.” Archiv für Mediengeschichte 6 (2006): 87-110. Print. Shaviro, David. “The “Bitter Necessity” of Debt: Neoliberal Finance and the Society of Control.” Concentric: Literary and Cultural Studies 37.1 (2011): 73-82. Print. Siegert, Bernhard. Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real. Trans. Geoffrey Winthrop-Young. New York: Fordham UP, 2015. Print. Sklar, Robert. “The Engineer of Modern Perplexity: An Interview with Edward Yang.” Cineaste 26.1 (2000): 6-8. Print. Teng, Shao Hung. “Medial Dwelling: Urban Materiality and Cinema in 1980s Taiwan.” MA thesis. National Taiwan University, 2017. Print. Tweedie, James. The Age of New Waves: Art Cinema and the Staging of Globalization. New York: Oxford UP, 2013. Print. Vogl, Joseph. “Becoming-Media: Galileo’s Telescope.” Trans. Brian Hanrahan. Grey Room 29(2007): 14-25. Print. Wang, Yun Yen. Tzaijian yangdechang [Edward Yang Revisited]. Taipei: Wang Xiao Yen Workshop, 2016. Wilson, Flannery. New Taiwanese Cinema in Focus: Moving Within and Beyond the Frame. Edinburgh: Edinburgh UP, 2014. Print. Yang, Edward. “Shin de shuxie fangshih” [“A New Way of Writing”]. Tzaijian yangdechang [Edward Yang Revisited]. Taipei: Wang Xiao Yen Workshop, 2016. 170-5. Print. ---. Interview. Business Next, 01 Feb. 2001. Web. 22 Feb. 2020. Yang, Lawrence Zi-Qiao. “Formatted Senses: Abstraction, Architecture Media, and a Logistical Critique of Colonial Taipei.” Chung-Wai Literary Quarterly 48.1 (2019): 11-46. Print. Yeh, Yueh-yu and Darrell William Davis. Taiwan Film Directors: A Treasure Island. New York: Columbia UP, 2005. Print. | |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/79427 | - |
| dc.description.abstract | 本論文分析楊德昌導演的作品《恐怖份子》和《一一》裡的「網格台北」，以提出透過「媒介技術」閱讀電影形式的研究方法。這兩部電影構圖中的網格結構主要有兩個來源，一是他企圖呈現的台北城市景觀，二是他所運用的媒介物。本文以媒介研究的理論命題，試圖闡釋電影形式中隨處可見的網格構圖，也是台北的社會形態基礎。本文以席格爾(Bernhard Siegert) 關於文化技術物的理論為基礎，探討楊德昌如何利用網格建構電影形式以闡明他對台北社會的觀察與批判。本文透過分析《恐怖分子》和《一一》中透過網格建構出的景觀體系，考察楊德昌電影中的台北如何表現出規訓社會和控制社會的特徵。本論文不將網格扁平化為一種譬喻或符號，而是將網格看作是產生物質技術、社會關係和概念的過程中的操作邏輯。由此，本文透過「媒介如何構成文化」展開了新的電影分析視角。這種以媒介物為中心的閱讀方法反映了楊德昌對當代社會的批判，以及他希望通過媒介的技術來理解都會人際網絡。 | zh_TW |
| dc.description.provenance | Made available in DSpace on 2022-11-23T09:00:15Z (GMT). No. of bitstreams: 1 U0001-1710202122092800.pdf: 8736436 bytes, checksum: 9db7687e4a9e438e6bc7a003308c566c (MD5) Previous issue date: 2021 | en |
| dc.description.tableofcontents | Introduction ..................................................................................................................................1 Chapter 1. Reading Yang’s Films through the Grid ...............................................................11 Chapter 2. The Grid as Cultural Technique: From the Disciplinary Grid to the Control Grid ..............................................................................................................................................24 Chapter 3. Can We Fall Off the Grid? The Disciplinary Grid in The Terrorizers................39 Chapter 4. The Free-Floating Control Grid in Yiyi..................................................................54 Conclusion....................................................................................................................................69 Filmography.................................................................................................................................73 Works Cited..................................................................................................................................74 | |
| dc.language.iso | en | |
| dc.title | 網格台北：楊德昌《恐怖份子》、《一一》的電影形式與媒介技術 | zh_TW |
| dc.title | The Gridded Taipei: Media Logic and Film Form in Edward Yang’s The Terrorizers and Yiyi | en |
| dc.date.schoolyear | 109-2 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 江美萱(Hsin-Tsai Liu),于昌民(Chih-Yang Tseng) | |
| dc.subject.keyword | 楊德昌,《恐怖份子》,《一一》,網格,媒介理論,文化技術,席格爾, | zh_TW |
| dc.subject.keyword | Edward Yang,The Terrorizers,Yiyi,grid,media theory,cultural technique,Bernhard Siegert, | en |
| dc.relation.page | 77 | |
| dc.identifier.doi | 10.6342/NTU202103800 | |
| dc.rights.note | 同意授權(全球公開) | |
| dc.date.accepted | 2021-10-20 | |
| dc.contributor.author-college | 文學院 | zh_TW |
| dc.contributor.author-dept | 外國語文學研究所 | zh_TW |
| Appears in Collections: | 外國語文學系 | |
Files in This Item:
| File | Size | Format | |
|---|---|---|---|
| U0001-1710202122092800.pdf | 8.53 MB | Adobe PDF | View/Open |
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