Please use this identifier to cite or link to this item: https://ah.nccu.edu.tw/handle/140.119/87626


Title: 性別符碼‧異質發聲:白先勇小說與電影改編之互文研究
Other Titles: Gender Code, Representation of Heterogeneity -The Intertextuality of Pai Hsien-yung’s novels and film adaptations
Authors: 黃儀冠
Huang, Yi-Kuan
Contributors: 彰師大國文系
Keywords: 白先勇;現代小說;台灣電影;互文性;性別研究
Date: 2009-06
Issue Date: 2016-04-28 15:21:12 (UTC+8)
Abstract: 台灣新電影的開展與現代文學影像化可謂八○年代至九○年代兩個重要的文化場景,在商品市場的機制運作下,名家大師的作品時時被改編成電影,躍上大螢幕粉墨登場,轉化成聲色俱佳的文化產品,電影文本與文學文本之間頻繁地互動與對話,形成複雜的文本互涉(intertextuality)現象。本論文其研究範圍以白先勇小說作品改編為電影為主,並以八○年代台灣文化場域範疇,針對電影改編對於外省族群、同志族群的影像再現,以及小說到電影中的性別議題、離散文化意象為主。本論文將以互文研究作為其研究方法,探討小說文本與電影文本的差異性,及共同性。其研究文本包括〈孽子〉、〈孤戀花〉、〈玉卿嫂〉、〈金大班的最後一夜〉,此四部文學電影皆拍攝於台灣八○年代,是故,透過此四部小說/電影以探究台灣八○年代的文化場域,對於性別議題、族群認同、同志影像再現等課題作進一步爬梳。本論文亦嘗試從台灣電影進程的歷史脈絡與文化,分析在八○年代所呈現外省族群影像,女性議題與同志形象在台灣電影發展上有何意義,以及對台灣文化的先鋒作用。
There are four films, The Last Night of Madame Chin, Madam Yu-Ching, Love’s Lone Flower, and The Crystal boys adapted from the novels of Pai Hsien-yung in 1980s. Owing to the high reputations of the novels as well as of film directors, prestigious for its social concern of the minority groups, the four films, including its production and casting, and the representation of homosexuality have gained intense attention. The numerous lectures and newspaper reports and interviews all become part of the “Literature and Film” phenomena in 1980s. By comparing and contrasting the four films and Pai Hsien-yung’s novels, this thesis explores how the concept of gender and homosexuality are reconfigured and represented in the mass media.
Relation: 臺灣文學學報,14,139-170
Data Type: article
Appears in Collections:[臺灣文學學報 THCI Core] 期刊論文

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