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Title: 我們從未「麻煩」過:《紅衣小女孩》系列(2015-2018)之童年寓言研究
“We have never been troubles”: Childhood allegory in Taiwan horror films the “Tag-Along” series (2015-2018)
Authors: 呂俊葳
Lu, Jun-Wei
Contributors: 陳儒修
Chen, Ru-Shou
Lu, Jun-Wei
Keywords: 《紅衣小女孩》系列
Collective imagination
Cultural allegory
Taiwan cinema
The “Tag-Along” series
Trauma narrative
Uncanny childhood cinema
Date: 2021
Abstract: 本研究的核心問題是電影如何想像童年以及童年何以變成一種恐怖類型。電影類型既是商業機制也是社會文化的表徵,本文檢視恐怖童年的建構策略以及其社會文化之意涵。我們以《紅衣小女孩》系列(2015-2018)作為主要分析文本,利用電影與視覺研究的主要工具:敘事分析、符號學、類型學等進行影像文本的分析。藉由新童年研究的理論視野,本研究「以童年作為方法」試圖指陳與拆解《紅衣小女孩》系列電影的寓言意義及成人意識形態。
The core question of this research is how films imagine childhood and why childhood becomes a subject of horror. As we know, film genres are comprehensively considered as an embodiment of commercial institutions and social culture. This thesis inspects the cinematic construction strategies of uncanny childhood and its social and cultural implications. We take the “Tag-Along” series, three films in a row, as the primary texts to closely examine and analyze by employing major methodologies in cinema and visual culture studies, including narrative analysis, semiotics, and so on. Based on the theoretical perspective of the new childhood studies, which emphasizes "[taking] childhood as a method," this study attempts to identify the allegorical meaning and dismantle adult ideology from the “Tag-Along” series.
We found that filmmakers regard children as carriers, projecting national and local imaginations and shaping an otherwise imagined community through folklore and language. Such imaginations have two purposes: to consider childhood as a vision of utopia; and to integrate it into capitalism-oriented logic. Children are thus the trauma of adults on one hand and being traumatized by adults on the other. Finally, compared with films from Japan and Hollywood, Taiwan's uncanny childhood cinema borrows elements from horror genre. Because of their different historical contexts, dissimilar sources of anxiety have arisen. For instance, the uncanny children in Japan are anti-linear national narratives, but those in the “Tag-Along” series are eager to create a new nation; while children in Hollywood horror films challenge traditional values and undermines patriarchy, the “Tag-Along” series worry about the lack of nuclear family and reflect misogyny ideas.
In conclusion, memory itself not merely looks back to the past but looks forward to the future. Childhood as a social artifact and allegorical form points towards the interplay of culture, politics, economic, and social structure. While childhood cinema becomes an emerging sub-genre in the field, this research explores a new approach to Taiwan cinema studies and places our hope on Taiwan's local cultural imaginations and expectations.
Description: 碩士
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Appears in Collections:[傳播學院傳播碩士學位學程] 學位論文

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