Please use this identifier to cite or link to this item: https://ah.nccu.edu.tw/handle/140.119/125095


Title: 悲傷調適歷程的敘事研究:以美國喪親哀悼電影為例(2008~2018)
Exploration on the Narrative of Grief Adjustment: Using American Mourning Films as Case Studies, 2008-2018
Authors: 徐凱嘉
Hsu, Kai-Chia
Contributors: 陳儒修
徐凱嘉
Hsu, Kai-Chia
Keywords: 愛,讓悲傷終結
海邊的曼徹斯特
記憶乍響
意外
悲傷輔導
Rabbit Hole
Manchester by the Sea
Louder Than Bombs
Three Billboards Outside Ebbing, Missouri
Grief counseling
Date: 2019
Issue Date: 2019-08-07 17:18:31 (UTC+8)
Abstract: 「喪親」作為人類失落經驗的極至,不僅對個體的生命產生重大影響,有時也擴及社會整體,如何從喪慟中走出便成了一段充滿考驗的旅程。每個喪親的生命故事背後都既有其獨特性,亦有共通性,「喪親哀悼」因此成為電影創作者關注的母題。本研究以2008~2018年間具代表性的四部電影作為研究個案,分別為:《愛,讓悲傷終結》(2010)、《記憶乍響》(2015)、《海邊的曼徹斯特》(2016)、《意外》(2017),以悲傷諮商與輔導理論為基礎,對文本進行電影符號學以及敘事理論的分析,希望藉此建構喪親哀悼電影為一種類型,探討其敘事結構以及電影如何形塑喪親角色在悲傷調適歷程中的心理與行為。

透過對上述四部電影的文本分析,發現每部電影反映出的獨特性可視為喪親悲傷調適歷程的個案研究,而挖掘其共通性則揭示了喪親哀悼電影作為類型電影所蘊含的特色與規則。
As the extreme experience of mankind’s lost, bereavement not only has a huge impact on individual life, but also the whole society. Thus, how to come out of grief becomes a challenging journey. Every life story about bereavement owns both uniqueness and commonality. The duality makes “bereavement” an interesting and major motif for filmmakers.
The study explores the psychology and the action of bereaved subjects during their grief adjustment process by narrative and film language, using four representative American mourning films between 2008-2018 as case studies to establish mourning films as genre, including Rabbit Hole, Louder Than Bombs, Manchester by the Sea, and Three Billboards Outside Ebbing, Missouri.

The results of this study show that the uniqueness of each mourning film can be seen as a case study of bereaved individual’s grief adjustment process. In contrast, exploring the commonality reveals features and rules of mourning films as genre.
Reference: 中文資料

MUZIK AIR編輯部(2013/4/12)。〈神劇《彌賽亞》 首演271年〉,Muzik Air,取自https://read.muzikair.com/tw/articles/%E7%A5%9E%E5%8A%87%E3%80%8A%E5%BD%8C%E8%B3%BD%E4%BA%9E%E3%80%8B-%E9%A6%96%E6%BC%94271%E5%B9%B4-8c18896e-2fab-4695-b2c3-eecf7f9e0f00

王姵蓁譯(2018/7/22)。〈《海邊的曼徹斯特》透過寫實明亮鏡頭,勇敢面對憂傷過往〉,影製所DC Film School,取自https://dcfilmschool.com/article/%E3%80%8A%E6%B5%B7%E9%82%8A%E7%9A%84%E6%9B%BC%E5%BE%B9%E6%96%AF%E7%89%B9%E3%80%8B%E9%80%8F%E9%81%8E%E5%AF%AB%E5%AF%A6%E6%98%8E%E4%BA%AE%E9%8F%A1%E9%A0%AD%EF%BC%8C%E5%8B%87%E6%95%A2%E9%9D%A2%E5%B0%8D%E6%86%82%E5%82%B7%E9%81%8E%E5%BE%80(原文Frazer, B. (2016, December 22). Colorist Jack Lewars on Sunny but Grief-Stricken Manchester by the Sea. Studio Daily. from http://www.studiodaily.com/2016/12/colorist-jack-lewars-on-sunny-but-grief-stricken-manchester-by-the-sea/)

申丹、王雅麗(2010)。《西方敘事學:經典與後經典》。北京:北京大學出版社。

光吉(2016/12/19)。〈《記憶乍響》琥珀色靈光的漂浮夢土〉,Viewmovie,取自https://www.viewmovie.tw/news/975-%E3%80%8A%E8%A8%98%E6%86%B6%E4%B9%8D%E9%9F%BF%E3%80%8B%E7%90%A5%E7%8F%80%E8%89%B2%E9%9D%88%E5%85%89%E7%9A%84%E6%BC%82%E6%B5%AE%E5%A4%A2%E5%9C%9F

朱侃如譯(1997)。《千面英雄》,臺北:立緒文化事業公司。(原書Campbell, J.[1949]. The hero with a thousand faces.)

行政院衛生署(2012/6)。《災難心理衛生教材手冊》。行政院衛生署災難心理衛生專業人員種子師資25小時之認證課程。(編號:1010618_0044875000),未出版。

何長珠、釋慧開等(2015)。《悲傷輔導理論與實務:自助手冊》。台北:揚智。

吳紅鑾譯(2001)。《死亡與喪慟:青少年輔導手冊》,台北:心理。(原書Charles A. Corr, & David E. Balk (Eds.). [1996].Handbook of adolescent death and bereavement. New York, NY, US: Springer Publishing Company.)

吳珮慈譯(1996)。《當代電影分析方法論》,台北:遠流。(原書Aumont, J., & Marie, M. [1988]. L'Analyse des Films.)

吳麗珍、周傳姜、林妍君(2017)。〈哀傷理論於喪親家屬之護理應用〉,《護理雜誌》,64(6),98-105。

巫冠蓉(2014)。《當代「鏡花緣」──蔡明亮電影《臉》的「哀悼日記」》。國立中央大學法國語文學研究所碩士論文。

李之年譯(2018)。《我的孩子是兇手:一個母親的自白》,台北:商周。(原書Klebold, S. [2016]. A mother's reckoning: Living in the aftermath of tragedy (First edition.). New York: Crown Publishers.)

李玉嬋、李佩怡、李開敏、侯南隆、陳美琴、張玉仕(2012)。《導引悲傷能量:悲傷諮商助人者工作手冊》。台北:張老師文化出版社。

李開敏、林方皓、張玉仕、葛書倫譯(2011)。《悲傷輔導與悲傷治療:心理衛生實務工作者手冊(第三版)》,台北:心理。(原書Worden, J. W. [2009]. Grief counseling and grief therapy: A handbook for the mental health practitioner (4th ed.). New York, NY, US: Springer Publishing Company.)

李閏華、張玉仕、劉靜女譯(2001)。《死亡與喪慟:兒童輔導手冊》,台北:心理。(原書Charles A. Corr, & Donna M. Balk (Eds.). [1996].Handbook of childhood death and bereavement. New York, NY, US: Springer Publishing Company.)

車文博(1996)。《西方心理學史》。台北:東華書局。

林方晧譯(2002)。〈意外暴力死亡〉,《與悲傷共渡——走出親人遽逝的喪慟》,頁61-82。台北:心理。(原書Redmond, L.M. [1996]. Sudden violent death.In Doka, K. J. (Ed.). Living with grief after sudden loss: Suicide, homicide, accident, heart attack, stroke. Washington, DC, US: Hospice Foundation of America; Philadelphia, PA, US: Taylor & Francis.)

林書媺(2013)。《哀悼電影:《省道132》以及2000年後魁北克電影中的哀悼主題》。國立中央大學法國語文學研究所碩士論文。

林綺雲、林詩儀(2017)。〈編織一幅波斯地毯——悲傷輔導大師Robert A. Neimeyer專題報導 (一)〉,《諮商與輔導》,374,41-47。

阿拎譯(2017/2/23)。〈從構思到電影,《海邊的曼徹斯特》走過了漫長之路〉,巴塞電影,取自http://www.moviebase.cn/uread/app/viewArt/shareViewArt-8315287b7a7a459d96b04b96535621e8.html(原文Fleming Jr, M. (2017, Febuary 14). Awash With 6 Oscar Noms, How ‘Manchester By The Sea’ Navigated Storms But Didn't Capsize. Deadline. from https://deadline.com/2017/02/manchester-by-the-sea-oscars-casey-affleck-matt-damon-kenneth-lonergan-interview-news-1201910437/)

柯雅雯(2006)。《當代女同志文學的悼亡、自療與自我完成(1960~2003)》。國立中興大學中國文學研究所碩士論文。

洪明月譯(2016)。《成年孤兒》,台北,寶瓶。(原書Levy, A. [1999]. The Orphaned Adult. MA: Perseus Books.)

胡雅雯(2018/5/3)。〈【奧斯卡】拆解《廣告牌殺人事件》的暴力語言 廣告牌如何觸動集體仇恨〉,明周文化,取自https://www.mpweekly.com/culture/%e5%a5%a7%e6%96%af%e5%8d%a1-%e5%bb%a3%e5%91%8a%e7%89%8c%e6%ae%ba%e4%ba%ba%e4%ba%8b%e4%bb%b6-frances-mcdormand-68268

徐芷婷譯(2016)。《讀懂電影語言》,台北:輕刻。(原書Edgar-Hunt, R., Marland, J., Rawle, S.[2015].The Language of Film. New York: Fairchild Books)

徐強譯(2013)。《故事與話語:小說和電影的敘事結構》。北京,中國人民大學。(原書Chatman, S. [1978]. Story and discourse: Narrative structure in fiction and film. Ithaca, N.Y. : Cornell University Press.)

翁煌德(2017/2/16)。〈麥特戴蒙慧眼催生《海邊的曼徹斯特》〉,鏡傳媒,取自https://www.mirrormedia.mg/story/20170103inf001/

馬小貴(2017/8/27)。〈《海邊的曼徹斯特》:配樂作為內容〉,豆瓣電影,取自https://movie.douban.com/review/8777805/

張美惠譯(2006)。《當綠葉緩緩落下:生死學大師的最後對話》,台北,張老師文化。(原書Kübler-Ross, E., & Kessler, D. [2005]. On Grief and Grieving:Finding the Meaning of Grief Through the Five Stages of Loss. New York ; Toronto: Scribner.)

張硯拓(2017/1/30)。〈《海邊的曼徹斯特》:瀕臨破碎的痂〉,Bios Monthly,取自http://www.biosmonthly.com/columnist_topic/8511

章惠安譯(2012)。《見證幽谷之路:悲傷輔導助人者的心靈手冊》。台北:心理。(原書Wolfelt, A. D. [2005]. Companioning the bereaved: A soulful guide for counselors & caregivers. Companion Press.)

章薇卿譯(2007)。《走在失落的幽谷:悲傷因應指引手冊》。台北:心理。(原書Neimeyer, Robert A. [1998]. Lessons of Loss: A Guide to Coping. Memphis: Mercury.)

莊偉祥(2015)。《失落/殘存: 張作驥電影的憂鬱政治及其邊緣主體》。國立交通大學外國語文學系暨外國文學與語言學研究所碩士論文。

許玉來、成蒂、林方晧、陳美琴、楊筱華、葛書倫、呂嘉惠譯(2002)。《與悲傷共渡——走出親人遽逝的喪慟》,台北:心理。(原書Doka, K. J. (Ed.). [1996]. Living with grief after sudden loss: Suicide, homicide, accident, heart attack, stroke. Washington, DC, US: Hospice Foundation of America; Philadelphia, PA, US: Taylor & Francis.)

陳中梅譯註(2001)。《詩學》,台北:臺灣商務印書館。(原書Aristotle. [1956]. De Arte Poetica Liber. In Kassel, R. (Eds.). UK: Oxford University Press)

陳永銓、曾煥棠(2015)。〈男性喪偶者的悲傷不同於女性嗎?〉,《應用心理研究》,62,113-161。

陳鈞閎(2012)。《哀傷主體:評唐‧迪力羅《身體藝術家》中的病徵享樂》。國立中興大學外國文學研究所碩士論文。

陳運星(2017)。《生死學(第二版)》。高雄:麗文文化。

陳儒修、郭幼龍譯(2002)。《電影理論解讀》,台北:遠流。(原書Stam, R. [2000]. Film theory: an introduction. Malden, MA: Blackwell Publishers)

焦雄屏、曾偉禎、林宜欣譯(1992)。《認識電影》,台北:遠流。(原書Giannetti, L. [1990]. Understanding Movies. Englewood Cliffs, NJ: Prentice Hall.)

程瑤譯(2018/3/2)。〈《三塊廣告牌》編劇:「這部電影是我結構性最差的一部。」〉,電影雜誌社,取自https://mp.weixin.qq.com/s/u_vrQU_QueMsnTIW_FYPiw(原文Utichi, J. [2018, January 8]. Golden Globe Winner Martin McDonagh On ‘Three Billboards', Strong Women, And Why Formulas Are「F–king Boring」. Deadline. from https://deadline.com/2018/01/three-billboards-outside-ebbing-missouri-martin-mcdonagh-interview-news-1202234358/)

程巍譯(2012)。《疾病的隱喻》。臺北:麥田。(原書Sontag, S. [1978; 1989]. Illness as metaphor and AIDS and its metaphors. New York, N.Y.: Picador.)

黃于珊(2013)。《少年小說中喪親兒童主題研究—以「九歌現代少兒文學獎」得獎作品為例》。南華大學文學研究所碩士論文。

黃浩鈞譯(2018/1/30)。〈奧斯卡提名配樂師——Carter Burwell打造電影夢幻聽覺〉,DC Film School,取自https://dcfilmschool.com/preview/%E9%87%91%E7%8D%8E%E6%8F%90%E5%90%8D%E9%85%8D%E6%A8%82%E5%B8%AB%E2%80%94%E2%80%94Carter%20Burwell%E7%82%BA%E9%9B%BB%E5%BD%B1%E6%89%93%E9%80%A0%E5%A4%A2%E5%B9%BB%E8%81%BD%E8%A6%BA(原文Burwell, C. [2017]. Three Billboards Outside Ebbing, Missouri——Carter's Notes. Carter Burwell. from http://www.carterburwell.com/projects/Three_Billboards.shtml)

葉佳怡譯(2017)。《絕望者之歌:一個美國白人家族的悲劇與重生》,八旗文化。(原書Vance, J.D. [2016]. Hillbilly Elegy: A Memoir of a Family and Culture in Crisis. New York : HarperCollins.)

葉郎(2018/5/9)。〈【電影背後】異色犯罪片《意外》那些廣告看板背後的真人真事〉,電影神搜,取自https://news.agentm.tw/9989/%E7%95%B0%E8%89%B2%E7%8A%AF%E7%BD%AA%E7%89%87-%E6%84%8F%E5%A4%96-%E5%BB%A3%E5%91%8A%E7%9C%8B%E6%9D%BF-%E8%83%8C%E5%BE%8C%E7%9A%84-%E7%9C%9F%E4%BA%BA%E7%9C%9F%E4%BA%8B/

賈放譯(2006)。《故事形態學》。北京:中華書局。(原書Propp, V. [1928、1998]. Morphology of the Folk Tale. Russia, Moscow: 莫斯科迷宮出版社)

廖晏顥(2018/4/18)。〈憤怒,以及更巨大的憤怒──《意外》所剖視的美國白人社會〉,說書,取自https://sobooks.tw/three-billboards-outside-ebbing-missouri/

趙毅恆(2012)。《符號學》。台北:新銳文創。

劉乃誌、李英芬、劉景萍、賴允亮(2005)〈安寧療護與預期性悲傷〉,《安寧療護雜誌》,10(3), 286-296。

劉立行(2012)。《當代電影理論與批評》。台北:五南。

蔡金祝(2003)。《哀悼之屋:維吉妮亞‧吳爾芙的《燈塔行》、《鬼屋》及湯妮‧莫禮森的《摯愛》中,時間、愛、及死亡的探討》。中國文化大學英國語文學研究所碩士論文。

蔡鵑如譯(2013)。《作家之路:從英雄的旅程學習說一個好故事(第三版)》。台北,商周。(原書Vogler, C. [2007]. The writer's journey: mythic structure for writers. 3rd ed. Studio City, CA: Michael Wiese Productions.)

鄭景雯(2018/10/29)。〈【當期主題】電影篇:80年代電影人的抗爭〉,文化+,22,取自https://www.cna.com.tw/culture/article/20181026w003

黎世珍、譚瓊(2017)。〈電影伴隨文本中的符號學探析〉,《電影評介》,10,77-79。

謝汝萱譯(2018)。《敘事弧:普立茲獎評審教你寫出叫好又叫座的採訪報導》。台北,新樂園。(原書Hart, J. [2011]. Storycraft: The Complete Guide to Writing Narrative Nonfiction. Chicago, IL: University of Chicago Press.)

鍾之梅(2012)。《史柯西斯《隔離島》和諾藍《全面啟動》兩部電影中之創傷和亡妻回歸》。中國文化大學英國語文學研究所碩士論文。

蘇絢慧(2007)。《喪慟夢》。台北:張老師文化。

蘇麗娟(2017)。《《哈利波特》中野性療癒力的探討》。國立台灣師範大學英文研究所碩士論文。

蘇麗淑(2013)。《少兒遭遇家庭變故之失落與復原研究-以九歌現代少兒文學獎(1993-2012)得獎作品為例》。國立高雄師範大學國文研究所碩士論文。

英文資料

Amick‐McMullan, A., Kilpatrick, D. G., Veronen, L. J., & Smith, S. (1989). Family survivors of homicide victims: Theoretical perspectives and an exploratory study. Journal of Traumatic Stress, 2(1), 21-35.

Armstrong, R. (2012). Mourning Films: A critical study of Loss and Grieving in Cinema. Jefferson, N.C: McFarland.

Bloomer, J. (2016, April 8). Director Joachim Trier on the Problem With His Movies and Louder Than Bombs' Curious Ending. Slate. from https://slate.com/culture/2016/04/louder-than-bombs-interview-with-joachim-trier-on-the-movie-s-ending-and-jesse-eisenberg-s-character.html

Bowlby, J. (1980). Attachment and Loss: Volume III: Loss, Sadness and Depression. In Attachment and Loss: Volume III: Loss, Sadness and Depression (pp. 1-462). London: The Hogarth Press and the Institute of Psycho-Analysis.

Brown, R. S. (1994). Overtones and undertones: Reading film music. Univ of California Press.

Chung, C. (2011). Q&A – John Cameron Mitchell Ventures Down the Rabbit Hole With Nicole Kidman. AMC. from https://www.amc.com/talk/2011/01/qa-john-camer

Cleiren, M. P. H. D. (1993). Bereavement and adaptation: A comparative study of the aftermath of death. Philadelphia: Hemisphere.

Demi, A. S., & Miles, M. S. (1987). Parameters of normal grief: A Delphi study. Death Studies, 11(6), 397-412.

Dillen, L., Fontaine, J. R., & Verhofstadt-Denève, L. (2009). Confirming the distinctiveness of complicated grief from depression and anxiety among adolescents. Death Studies, 33(5), 437-461.

Fleming, S.J., & Adolph, R. (1986). Helping bereaved adolescents: Needs and responses. In C.A. Corr & J.N. McNeil (Eds.), Adolescence and death, 97-118. New York, NY: Springer.

Friedman, M., & Rosenman, R.H. (1974). Type a behavior and your heart. New York: Knopf

Gillies, J. & Neimeyer, R. A. (2006). Loss, grief, and the search for significance: Toward a model of meaning reconstruction in bereavement. Journal of Constructivist Psychology, 19, 31-65. Taylor & Francis Group, LLC.

Hays, J. C., Gold, D. T., & Pieper, C. F. (1997). Sibling bereavement in late life. OMEGA-Journal of Death and Dying, 35(1), 25-42.

Hepworth, J., Ryder, R. G., & Dreyer, A. S. (1984). The effects of parental loss on the formation of intimate relationships. Journal of Marital and Family Therapy, 10(1), 73-82.

Horowitz, M. J., Wilner, N., Marmar, C., & Krupnick, J. (1980). Pathological grief and the activity of latent self-images. The American journal of psychiatry.

IMDB. (2019, June 7). Three Billboards Outside Ebbing, Missouri (2017) Trivia. IMDB. from https://www.imdb.com/title/tt5027774/trivia

Janoff-Bulman, R. (1992). Shattered assumptions: Towards a new psychology of trauma. New York, NY, US: Free Press.

Jordan, J. R. (2001). Is suicide bereavement different? A reassessment of the literature. Suicide and life-threatening behavior, 31(1), 91-102.

Levy, E. (2019, April 2). Oscar Actors: Rockwell, Sam–Three Billboards Outside Ebbing, Missouri. Emnuell Levy. from https://emanuellevy.com/oscar/oscar-actors-rockwell-sam-three-billboards-outside-ebbing-missouri/

Lindemann, E. (1944). Symptomatology and management of acute grief. American journal of psychiatry, 101(2), 141-148.

Marshall, V. W. (1996). Death, Bereavement, and the Social Psychology of Aging and Dying. In J.D. Morgan (Ed.), Ethical Issues in the Care of the Dying and Bereaved Aged(pp.57-73). Amityville, NY: Baywood.

Martin, T., & Doka, K. J. (1999). Man don't cry woman do: Transcending gender stereotypes of grief. Philadelphia, PA: Brunner Mazel.

McClowry, S. G., Davies, E. B., May, K. A., Kulenkamp E. J., & Martinson I. M. (1987). The empty space phenomenon: the process of grief in the bereaved family. Death Studies, 11:5, 361-374.

McGleenon, B. (2019, May 20). An Interview with Three Billboards Outside Ebbing, Missouri Director, Martin McDonagh. mandy. from https://www.mandy.com/news/award-winning-writer-director-martin-mcdonagh

Meshot, C. M., & Leitner, L. M. (1993). Adolescent mourning and parental death. Omega: Journal of Death and Dying, 26(4), 287-299.

Miller, A. (1949). Death of a Salesman. New York: The Viking Press

Murphy, S. A. (1997). A bereavement intervention for parents following the sudden, violent deaths of their 12-28-year-old children: description and applications to clinical practice. Canadian Journal of Nursing Research Archive, 29(4),251-272.

Nerken, I. R. (1993). Grief and the reflective self: Toward a clearer model of loss resolution and growth. Death Studies, 17(1), 1-26.

O'Connor, F. (1955). A Good Man Is Hard To Find. San Diego, Calif: Harcourt Brace Jovanovich.

Parkes, C.M. (1972). Bereavement: Studies of grief in adult life. New York: International Universities Press.

Ponsoldt, J. (2016, October 20). High Tide: Kenneth Lonergan on Manchester by the Sea. Filmmaker. from https://filmmakermagazine.com/100297-high-tide/#.XM2wWNFS_CV

Rando, T. A. (1993). Treatment of complicated mourning. Champaign, IL, US: Research Press.

Raphael, B. (1983). The anatomy of bereavement. New York: Basic Books.

Roth, P. (1979). The Ghost Writer. New York:Farrar, Straus & Giroux

Sanders, C. M. (1989). Grief: The mourning after: Dealing with adult bereavement. Oxford, England: John Wiley & Sons.

Sanko, A. (2011, February 15). Rabbit Hole: Original Motion Picture Soundtrack. Bandcamp. from https://rabbitholesoundtrack.bandcamp.com/track/cleaning

Schwartzberg, S. S., & Janoff-Bulman, R. (1991). Grief and the search for meaning: Exploring the assumptive worlds of bereaved college students. Journal of Social and Clinical Psychology, 10(3), 270-288.

Serwer, A., (2009, Nov 24). The '00s: Goodbye (at Last) to the Decade from Hell. Time. 174-22.

Shear, K., Frank, E., Houck, P. R., & Reynolds, C. F. (2005). Treatment of complicated grief: a randomized controlled trial. The Journal of the American Medical Association, 293(21), 2601-2608.

Smilansky, S. (1987). On death: Helping children understand and cope. New York, NY, US: Peter Lang Publishing.

Stein, L. (2016, April 6). Louder than Bombs: An Interview with Joachim Trier and Jesse Eisenberg. the Paris Review. from https://www.theparisreview.org/blog/2016/04/06/louder-than-bombs-an-interview-with-joachim-trier-and-jesse-eisenberg/

Stroebe M., Schut H., & Finkenauer C. (2001). The traumatization of grief?A conceptual framework for understanding the trauma-bereavement interface. Israel Journal of Psychiatry and Related Sciences. 2001; 38:185–201.

Stroebe, M., & Schut, H. (1999). The dual process model of coping with bereavement: Rationale and description. Death Studies.

Tedeschi, R.G., Park, C.L., & Calhoun, L.G. (Eds.). (1998). Posttraumatic growth: Positive changes in the aftermath of crisis. Routledge.

The Numbers. (2011, April 1). Rabbit Hole (2010). from https://www.the-numbers.com/movie/Rabbit-Hole#tab=summary

The Numbers. (2018, December 31). Louder Than Bombs (2015). from https://www.the-numbers.com/movie/Louder-Than-Bombs#tab=summary

The Numbers. (2019, February 26). Manchester by the Sea (2016). from https://www.the-numbers.com/movie/Manchester-by-the-Sea#tab=summary

The Numbers. (2019, February 26). Three Billboards Outside Ebbing, Missouri (2017). from https://www.the-numbers.com/movie/Three-Billboards-Outside-Ebbing-Missouri#tab=summary

Underwood, M.M. (2004). Group Interventions for Treatment of Psychological Trauma Module 10: Group Interventions for Bereavement Following Traumatic Events. from https://www.agpa.org/home/practice-resources/group-interventions-for-trauma/general-information-on-trauma-for-clinicians-and-the-public-at-large/group-interventions-for-treatment-of-psychological-trauma

Utichi, J. [2018, January 8]. Golden Globe Winner Martin McDonagh On ‘Three Billboards', Strong Women, And Why Formulas Are「F–king Boring」. Deadline. from https://deadline.com/2018/01/three-billboards-outside-ebbing-missouri-martin-mcdonagh-interview-news-1202234358/

Vess, J., Moreland, J., & Schwebel, A. I. (1986). Understanding family role reallocation following a death: A theoretical framework. Omega: Journal of Death and Dying, 16(2), 115-128.

Warshow, R. (1962). The immediate experience: Movies, comics, theatre & other aspects of popular culture. Garden City, N.Y: Doubleday.

Weinberg, N. (1985). The health care social worker's role in facilitating grief work: An empirical study. Social work in health care, 10(3), 107-117.

Weiss, R. S. (1988). Loss and recovery. Journal of Social Issues, 44(3), 37-52.

Wortman, C. B., & Lehman, D. R. (1985). Reactions to victims of life crisis: Support attempts that fail. In Social support: Theory, research and applications (pp. 463-489). Springer, Dordrecht.

影片

山崎康史、和田倉和利、中山賢一(製作人),栗村実(導演)(2013)。《櫻花下的約定》(桜、ふたたびの加奈子)。(可樂電影)

李志薔(製作人),蔡銀娟(導演)(2016)。《心靈時鐘》。(冬候鳥電影文化事業有限公司)

陳保英、高君亭、梁宏志(製作人),安邦(導演)(2018)。《生生》。(老灰狼、內容物、華映娛樂)

黃黎明(製作人),王小棣(導演)(2010)。《酷馬》。(稻田電影)

塗翔文、李耀華(製作人),郭承衢(導演)(2016)。《德布西森林》。(魚樂行銷)

詹婷怡(製作人),王育麟、劉梓潔(導演)(2010)。《父後七日》。(蔓菲聯爾創意製作有限公司)

劉蔚然、胡仲光、謝芝芬(製作人),林書宇(導演)(2015)。《百日告別》。(原子映像、台北影業、相信音樂)

魏德聖(製作人),林育賢(導演)(2009)。《雨過天晴》。(翻滾吧男孩電影有限公司、海納百川娛樂有限公司)

Axster, A., Bingham, R., & Gonda, N.(製作人),Axster, A.(導演)2015。《尋找心方向》(A Country Called Home)。(Catchplay線上影音)。

Barnz, B., Aniston, J., Hahn, K., Solomon, C., & Canton, M.(製作人), Barnz, D.(導演)(2014)。《蛋糕的滋味》(Cake)。(華納兄弟影業)

Berger, A., & Astrachan, J.(製作人),Trier, J.(導演)(2015)。《記憶乍響》(Louder Than Bombs)。(美昇)

Berman, J.M., Fore, T.B., & Schuminsky, J.(製作人),Renzi, A.(導演)(2015)。《法蘭尼》(Franny)。(南強國際影視傳播)

Birnbaum, R.(製作人),Roth, E.(導演)(2018)。《猛龍過客》(Death Wish)。(車庫娛樂)

Blume, J., Blume, L., Cooper, G., Pomerance, R., Moran, L., & Bastian, R.(製作人),Blume, L.(導演)(2012)。《老虎的眼睛》(Tiger Eyes)。(台聖)

Broadbent, G., Czernin, P., & McDonagh, M.(製作人),McDonagh, M.(導演)(2017)。《意外》(Three Billboards Outside Ebbing, Missouri)。(美商二十世紀福斯影片公司)

Brooks, J.L., Sakai, R., & Ansell, J.(製作人),Craig, K.F.(導演)(2016)。《他媽的十七歲》(The Edge of Seventeen)。(Gracie Films、Huayi Brothers Media、Robert Simonds Productions、STX Entertainment)

Bush, E., & Karam, T.(製作人),Daldry, S.(導演)(2011)。《心靈鑰匙》(Extremely Loud and Incredibly Close)。(華納兄弟影業)

Butler, G., Wimmer, K., Gill, M., Foster, L., & Siegel, A.(製作人),Gray, F.G.(導演)(2009)。《重案對決》(Law Abiding Citizen)。(五泰)

Clay, L.(製作人),Ku, S.(導演)(2010)。《找回心方向》(Beautiful Boy)。(睿克)

Damon, M., Steward, K., Moore, C., Walsh, K.J., & Beck, L.(製作人),Lonergan, K.(導演)(2016)。《海邊的曼徹斯特》(Manchester by the Sea)。(采昌國際多媒體)

Dorros, B., Sugar, M., Loeb, A., Bregman, A., & Frakes, K.(製作人),Frankel, D.(導演)(2016)。《最美的安排》(Collateral Beauty)。(華納兄弟影業)

Eaton, A., & Winterbottom, M.(製作人),Winterbottom, M.(導演)(2008)。《情留吉諾瓦》(Genova)。(沙鷗)

Engelson, T.(製作人),Coulter, A.(導演)(2010)。《記得我》(Remember Me)。(頂峰娛樂)

Film at Lincoln Center(製作單位)(2016)。〈'Louder Than Bombs' Q&A | Joachim Trier & Gabriel Byrne〉【影音訪談】。(Film at Lincoln Center)。取自https://www.youtube.com/watch?v=90rijmrn2r8

Fischoff, R., & Jaffe, S.R.(製作人),Benton, R.D.(導演)(1979)。《克拉瑪對克拉瑪》(Kramer vs. Kramer)。(Columbia Pictures)

Ford, T., Miano, A., Salerno, R., & Weitz, C.(製作人),Ford, T.(導演)(2009)。《摯愛無盡》(A Single Man)。(勁藝)

Franklin, S., Emmett, R., Watson, E., Furla, G., Dealbert, P., Schwarzenegger, A., & Aronofsky, D.(製作人),Lester, E.(導演)(2017)。《空難餘波》(Aftermath)。(Emmett/Furla/Oasis Films、Pacific View Management、 Protozoa Pictures、thefyzz、Grindstone Entertainment Group)

George, M., Iwanyk, B., Berg, P., Rogers, W.L., & Bell, E.A.(製作人),Sheridan, T.(導演)(2017)。《極地追擊》(Wind River)。(海樂)

Gertler, H., Hamm, T., Kelly, R., McKittrick, S., & Perell, T.(製作人),Goldthwait, B.(導演)(2009)。《世上最讚老爹》(World's Greatest Dad)。(Catchplay線上影音)

Gigliotti, D., Cohen, B., & Gordon, J.(製作人),Russell, D.O.(導演)(2012)。《派特的幸福劇本》(Silver Linings Playbook)。(勁藝)

Halfon, L., Kimmel, S., Luckinbill, T., Smith, M., & Vallée, J.(製作人),Vallée, J.(導演)(2015)。《崩壞人生》(Demolition)。(傳影)

Halfon, S. & Dauman, A.(製作人),Resnais, A.(導演)(1959)。《廣島之戀》(Hiroshima mon amour)。(Pathé Films)

Joffe, C.H.(製作人),Woody, A.(導演)(1978)。《我心深處》(Interiors)。(聯美公司)

Kidman, N., Urdang, L., Pritzker, G., Saari, P., & Vanech, D.(製作人),Mitchell, J.C.(導演)(2010)。《愛,讓悲傷終結》(Rabbit Hole)。(睿客)

LaPray, D.(製作人),Clark, C.S., & Parker, P.H.(導演)(2015)。《天人試煉》(Just Let Go)。(Catchplay線上影音)

Larraín, J.D., Aronofsky, D., Liddell, M., Franklin, S., & Handel, A.(製作人),Larraín, P.(導演)(2016)。《第一夫人的秘密》(Jackie)。(勁藝)

Liddell, M., Shilaimon, P., Holroyd, S. & Ciardi, M.(製作人),McNamara, S.(導演)(2018)。《奇蹟的賽季》(The Miracle Season)。(LD Entertainment、Apex Entertainment)

Lucchesi, G., Rosenberg, T., & Wright, R.S.(製作人),Morel, P.(導演)(2018)。《血薄荷》(Peppermint)。(睿客)

Marlowe, A.W.(製作人),(2009-2015)。《靈書妙探》(Castle)【電視劇】。(ABC)

Milchan, A., Golin, S., Iñárritu, A.G., Parent, M., Redmon, K., & Skotchdopole, J.W.(製作人),Iñárritu, A.G.(導演)(2015)。《神鬼獵人》(The Revenant)。(勁藝)

Mitchell, J.C.(製作人),Mitchell, J.C.(導演)(2006)。《性愛巴士》(Shortbus)。(THINKFilm)

Netter, G., Cummings, B., Long, Q., Drake, M., Steinkamp, W., & Netter, L.A.(製作人),Hazeldine, S.(導演)(2017)。《心靈小屋》(The Shack)。(勁藝)

Osnes, H., & Sæther, Y.(製作人),Trier, J. (導演)(2011)。《八月三十一日,我在奧斯陸》(Oslo, August 31st)。(Strand Releasing)

Pennasilico, A.(製作人),Antonioni, M.(導演)(1960)。《情事》(L'Avventura)。(Cino Del Duca)

Platt, M.(製作人),Steers, B.(導演)(2010)。《生死情緣》(Charlie St. Cloud)。(得利影視)

Poland, D.(製作人),(2010)。〈DP/30: Rabbit Hole, director John Cameron Mitchell〉【影音訪談】。(DP/30)。取自https://www.youtube.com/watch?v=Bt5Yt1CDPz4

Pollack, S., Gilbert, G., & Rudin, S.(製作人),Lonergan, K.(導演)(2011)。《瑪格麗特》(Margaret)。(Fox Searchlight Pictures)

Rivera, J.(製作人),Doctor, P.(導演)(2009)。《天外奇蹟》(Up)。(得利影視)

Sarde, A., & Gozlan C.(製作人),Doillon, J.(導演)(1996)。《悲憐上帝的小女兒》(Ponette)。(canal+、Bac Film)

Schwary, R.L.(製作人),Redford, R.(導演)(1980)。《凡夫俗子》(Ordinary People)。(Paramount Pictures)

Sharp, J., Hart, J., Meistrich, L., & De Fina, B.(製作人),Lonergan, K.(導演)(2000)。《我辦事,你放心》(You Can Count On Me)。(Paramount Classics)

Sledge, G., & Sloss, J.(製作人),Linklater, R.(導演)(2018)。《老爸出任務》(Last Flag Flying)。(傳影互動)

Spikings, B., Deeley, M., Cimino, M., & Peverall, J.(製作人),Cimino, M.(導演)(1978)。《越戰獵鹿人》(The Deer Hunter)。(EMI)

Stuber, S., & Thompson, M.(製作人),Camp, B.(導演)(2009)。《愛上妳,愛上我》(Love Happens)。(得利影視)

Tze-Wen Cheng(製作人),郭珍弟(導演)(2014)。《山豬溫泉》。(台灣女性影像學會)

Witherspoon, R., Papandrea, B., & Pohlad, B.(製作人),Vallée, J.(導演)(2014)。《那時候,我只剩下勇敢》(Wild)。(福斯探照燈影業)

Yorn, J., Crowe, C., & Gordon, M.(製作人),Crowe, C.(導演)(2011)。《我們買了動物園》(We Bought A Zoo)。(得利影視)
Description: 碩士
國立政治大學
傳播學院傳播碩士學位學程
1034640301
Source URI: http://thesis.lib.nccu.edu.tw/record/#G1034640301
Data Type: thesis
Appears in Collections:[傳播學院傳播碩士學位學程] 學位論文

Files in This Item:

File SizeFormat
030101.pdf46227KbAdobe PDF0View/Open


All items in 學術集成 are protected by copyright, with all rights reserved.


社群 sharing