| dc.contributor | 台文所 | |
| dc.creator (作者) | 楊小濱 | zh_TW |
| dc.creator (作者) | Yang, Xiaobin | |
| dc.date (日期) | 2012 | |
| dc.date.accessioned | 14-Jun-2017 16:25:55 (UTC+8) | - |
| dc.date.available | 14-Jun-2017 16:25:55 (UTC+8) | - |
| dc.date.issued (上傳時間) | 14-Jun-2017 16:25:55 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/110301 | - |
| dc.description.abstract (摘要) | 台湾最具影响力的三大导演——侯孝贤、杨德昌、蔡明亮——的电影美学代表了台湾电影中的不同心理——文化指向。本文透过拉康理论中有关精神领域的三个层次——想象域、符号域和真实域——来考察这三位导演的电影美学，同时梳理出台湾电影中有关前现代、现代与后现代的错综复杂关系，即对现代性与后现代性的各种辩证的、冲突的表达。因此，本文也试图在理论上拓展拉康有关想象域、符号域和真实域的论述，将其连接到同现代性与后现代性相关的议题上。This essay examines the films of Hou Hsiao-hsien，Edward Yang and Tsai Ming-liang，the most influential filmmakers in Taiwan in the past few decades，in order to elucidate the different psycho-cultural dimensions in Taiwan films. The filmic aesthetics of these three directors can be investigated through Lacan’s three registers of perception，namely，the Imaginary，the Symbolic and the Real. By studying the three registers that operate in their filmic works，I attempt to disentangle the intricate relationships of the premodern，the modern and the postmodern in Taiwan film，i.e.，the various dialectical and contradictory articulations of modernity and postmodernity. Theoretically，therefore，this essay attempts to explore the possibility of connecting the Lacanian theory of RSI to the discussion of topics regarding modernity and postmodernity. | |
| dc.format.extent | 107 bytes | - |
| dc.format.mimetype | text/html | - |
| dc.relation (關聯) | 文化研究, 12, 176-209 | |
| dc.subject (關鍵詞) | 侯孝贤;杨德昌;蔡明亮;拉康;真实域—符号域—想象域（后）现代性;Hou Hsiao-hsien;Edward Yang;Tsai Ming-liang;Lacan;RSI;（post）modernity | |
| dc.title (題名) | 你想要知道的台灣新電影（但又沒敢問拉康的） | zh_TW |
| dc.type (資料類型) | article | |
