Please use this identifier to cite or link to this item: https://ah.nccu.edu.tw/handle/140.119/136750


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
呂俊葳
Lu, Jun-Wei
Keywords: 《紅衣小女孩》系列
創傷敘事
恐怖童年電影
文化寓言
臺灣電影
集體想像
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。
我們發現電影創作者以兒童為載體,投射國族、本土想像,以民俗和語言型塑另一種共同體;同時,影像再現規訓童年的方式,其目的既有出自於以其為烏托邦的憧憬,也有整併至資本邏輯為導向的成人社會。由此,兒童一方面作為成人的創傷,另一方面也飽受成人的創傷,在世代之間形成一股拮抗的張力。最後,與美國、日本的作品比較,臺灣的恐怖童年從中師法恐怖的類型元素,卻因各自的歷史脈絡,產生不同的焦慮根源。相較於日本,恐怖兒童作為反國族的詛咒輪迴,紅衣小女孩卻想要製造新國族;相較於美國,恐怖兒童挑戰傳統價值與破壞父權,紅衣小女孩則是憂慮核心家庭的匱缺與反映厭女思維。
記憶本身並不只是回望過去,而是放眼未來。童年做為社會製品,更是一種之於當下的寓言體式,指向文化、政治、經濟與社會結構的交織。以童年為核心的電影研究成為二十一世紀方興未艾的次領域之際,本研究除了拓展臺灣對童年電影研究的新進路之外,也寄託著對臺灣本土的文化想像及企望。
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
國立政治大學
傳播學院傳播碩士學位學程
107464003
Source URI: http://thesis.lib.nccu.edu.tw/record/#G0107464003
Appears in Collections:[傳播學院傳播碩士學位學程] 學位論文

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