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Please use this identifier to cite or link to this item: https://ah.lib.nccu.edu.tw/handle/140.119/32390
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dc.contributor.advisor王孟平<br>李英明zh_TW
dc.contributor.author張世強zh_TW
dc.contributor.authorChang, Shih-Chiangen_US
dc.creator張世強zh_TW
dc.creatorChang, Shih-Chiangen_US
dc.date2006en_US
dc.date.accessioned2009-09-14T05:49:22Z-
dc.date.available2009-09-14T05:49:22Z-
dc.date.issued2009-09-14T05:49:22Z-
dc.identifierG0922615021en_US
dc.identifier.urihttps://nccur.lib.nccu.edu.tw/handle/140.119/32390-
dc.description博士zh_TW
dc.description國立政治大學zh_TW
dc.description中山人文社會科學研究所zh_TW
dc.description92261502zh_TW
dc.description95zh_TW
dc.description.abstract本論文企圖透過有史以來最受爭議的電影《受難記：最後的激情》（2004），探究「耶穌電影」與「反猶主義」之間的複雜關係。《受難記：最後的激情》是一部由著名演員梅爾吉伯遜所自行出資、製作與編導的典型「耶穌電影」，本片憑藉著鮮明寫實的銀幕形象與極度暴力的詮釋風格，在美國社會掀起前所未有的文化論戰與「反猶主義」爭議熱潮；儘管「耶穌類型」電影經常流露「反猶主義」傾向，唯本片卻是其中一個非常顯著而特殊的例子。\r\n從一個基督論的分析觀點，本文企圖從本片呈現出來的銀幕形象背後，揭示本片如何大量取材具有反猶爭議的經典與非經典元素，並運用魔鬼化的敘述手法加以詮釋。此外，本文也將論析圍繞在本片製作、發行與映演過程中，所產生的宗教社群、基督教派與商業行銷延伸爭議，說明現今美國電影工業生態與保守社會氣氛如何渲染本片當中的反猶爭議。\r\n透過《受難記：最後的激情》例證的考察，我們將會發現，由於「耶穌電影」通常不僅具有濃厚的基督宗教色彩，觸及基督宗教與猶太教的互動關係，也傳達刻板的「基督論」教義和神學，使得「耶穌電影」幾乎很難迴避「反猶主義」的指控，特別是在現今市場導向和宗教社群日益對立的情況之下。zh_TW
dc.description.abstractThis dissertation proposes a discussion about the relationship between the Jesus film genre and anti-Semitism by exploring Mel Gibson’s film The Passion of the Christ (2004), which has been ranked as “the most controversial movie of all time”. The release of The Passion of the Christ has triggered an unprecedented controversy over anti-Semitism in the America. Individual and critical responses to the film have ranged from those who charge the director with pornographic violence or reviving anti-Semitism to others who found Gibson’s portrayal of Jesus to be profoundly moving and spiritually uplifting. Although Gibson claimed that The Passion of the Christ was faithful to the gospels and the gospels were faithful to history, there were still plenty of historical problems and non-biblical material, such as the stations of the cross, passion play and mysticism of the Middle Ages, seamlessly woven into the film narrative. After addressing problems inherent in The Passion of the Christ, this dissertation lies with an inquiry into the demonized narrative and anti-Semitic material behind the silver screen, viewed from a Christological perspective, and with the surrounding communal, denominational and commercial disputes which occur in the course of film production, distribution and exhibition.en_US
dc.description.tableofcontents第一章 導論：問題意識與研究設計........................................................................1\r\n\r\n第二章 耶穌電影與基督宗教傳統之交涉..............................................................17\r\n\r\n第一節 宗教與電影關係的研究徑路..............................................................17\r\n第二節 宗教電影與（基督宗教）神學研究徑路..........................................26\r\n第三節 耶穌電影與（基督宗教）神學的對話..............................................34\r\n\r\n第三章 耶穌電影與反猶主義之交涉......................................................................43\r\n\r\n第一節 西方電影的母題：耶穌電影初期的發展歷程..................................43\r\n第二節 西方電影的母題：第二次世界大戰之後耶穌電影的發展歷程......50第三節 經典取材與反猶爭議：耶穌電影的共同難題..................................58\r\n\r\n第四章 反猶主義與基督宗教傳統之交涉..............................................................69\r\n\r\n第一節 反猶主義的發展歷程與理論詮釋......................................................69\r\n第二節 反猶現象的基督宗教根源：反猶主義與反猶太教主義之辨析......82\r\n第三節 一個分析銀幕文本象徵意喻的出發點..............................................93\r\n\r\n第五章 《受難記》經典取材中的反猶爭議........................................................101\r\n\r\n第一節 四部福音書中的反猶傾向................................................................101\r\n第二節 《受難記》綜合取材模式的神學立場............................................108\r\n第三節 「經典」與「歷史」元素的錯置與影響........................................119\r\n\r\n第六章 《受難記》非經典取材中的反猶爭議....................................................131\r\n\r\n第一節 從「經典文字」到「銀幕影像」....................................................131\r\n第二節 中世紀神秘主義傳統與反猶銀幕形象............................................138\r\n第三節 「受難復活劇」儀式傳統與反猶銀幕形象....................................149\r\n\r\n第七章 《受難記》製作、發行與映演過程中的反猶爭議................................163\r\n\r\n第一節 導演傳統主義派天主教會的猶太問題立場....................................163\r\n第二節 非典型耶穌電影商業行銷手法所產生的反猶爭議........................168\r\n第三節 《受難記》映演背後美國當代宗教社群傾軋的社會背景............173\r\n\r\n第八章 結論............................................................................................................183\r\n\r\n【參考書目】............................................................................................................189\r\n\r\n【附錄】\r\n（附錄一）：重要「耶穌電影」編年紀..................................................................221\r\n（附錄二）：《受難記：最後的激情》基本資料表................................................233zh_TW
dc.language.isoen_US-
dc.source.urihttp://thesis.lib.nccu.edu.tw/record/#G0922615021en_US
dc.subject反猶主義zh_TW
dc.subject耶穌電影zh_TW
dc.subject梅爾吉伯遜zh_TW
dc.subject受難記：最後的激情zh_TW
dc.subjectAnti-Semitismen_US
dc.subjectJesus Movieen_US
dc.subjectMel Gibsonen_US
dc.subjectThe Passion of the Christen_US
dc.title論耶穌電影與反猶主義之文化衝突意涵：以《受難記：最後的激情》為例zh_TW
dc.typethesisen
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