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題名 描繪白色恐怖的台灣電影：從《悲情城市》到《幸福路上》
Portraying White Terror in Taiwan Cinema Through the Decades: Marching away from Sadness City to Happiness Road作者 楊雅雯
Van, Duong Nha貢獻者 陳儒修
Robert Chen
楊雅雯
Duong Nha Van關鍵詞 悲情城市
超級大國民
幸福路上
白色恐怖
本土化
台灣意識
A City of Sadness
Super Citizen Ko
On Happiness Road
White Terror
Taiwanization
Taiwanese consciousness日期 2023 上傳時間 2-Jun-2023 11:39:07 (UTC+8) 摘要 自從蔣經國總統宣布解除戒嚴以來已經過了六十多年，但白色恐怖仍然是台灣史上最重要的時期之一。當島嶼開始踏上尋找自我認同並尋求國際認可之旅時，白色恐怖也更加重要，因為這證明只有像台灣這種民主自由國家才能克服最黑暗的一段歷史。這個觀念也延伸到電影界，白色恐怖仍然是許多電影製作者的靈感來源。根據白色恐怖對於台灣電影的重要性，本研究將探討三部不同年代的電影，包括《悲情城市》（1989年），《超級大國民》（1995年）和《幸福路上》（2017年），來探究白色恐怖在電影中的呈現方式。研究將論證每部電影中持續而獨特的白色恐怖議題，對於建構台灣意識有怎麼樣重大的貢獻，而這也是本土化的重要建構過程之一。本研究將定位為文化研究，採用符號學和文本分析兩種主要方法。透過此研究，將經典和當代電影連起來，進行比較分析，提供對於台灣電影中白色恐怖的描繪，以及對本土化與台灣意識的影響。
More than six decades have passed since former president Chiang Ching-kuo declared the lifting of martial law, yet White Terror continues as one of the most important historical periods in Taiwanese history. As the island embarks on a journey to define its own identity and seek for international recognition, White Terror becomes even more essential of a topic than ever because it is a solid proof that only a democratic, free nation like Taiwan can embrace one of the darkest, if not the darkest, past sufferings. This idea also expands to the film industry, where White Terror persists to be an inspiration for generations of filmmakers.Given the importance of White Terror in Taiwan cinema, this study will be examining the representation of White Terror in three different films from three distinct decades, including A City of Sadness (悲情城市, 1989), Super Citizen Ko (超級大國民, 1995) and On Happiness Road (幸福路上, 2017). From then, it argues that the persistent yet distinctive presence of White Terror in each film contributes to the building of Taiwanese consciousness, which is also one of the crucial constructs in the Taiwanization movement (本土化). In order to achieve the proposed objectives, this study identifies itself as a cultural studies project and adopts two primary methodologies including semiotics and textual analysis. In doing so, this research connects the classic and the contemporary films to create a comparative study that provides an outlook into the portrayals of White Terror in Taiwan cinema and its future prospects as a part of Taiwanization.參考文獻 Andrew, J. D. (1976). The major film theories: An introduction. New York: Oxford University Press.Akbari-Dibavar, A. (2016). Speaking trauma: silences and romanticization. Critical Studies on Security, 4(1), 125-128. doi:10.1080/21624887.2016.1163951Barthes, R. (1968). Elements of semiology (A. Lavers & C. Smith, Trans.). New York: Hill and Wang.Barthes, R. (1972). Mythologies (A. Lavers, Trans.). New York: The Noonday Press.Baskett, M. (2008). The attractive empire: Transnational film culture in imperial Japan. Honolulu, United States: University of Hawaii Press.Berger, J. (1972). Ways of seeing. London: Penguin Books.Berry, C., & Lu, F. (2005). Introduction. In C. Berry & F. Lu (Eds.), Island on the edge: Taiwan New Cinema and after (pp. 1-12). Hong Kong: Hong Kong University Press.Berry, C., & Rawnsley, M.-y. T. (2020). Introduction to a special issue on Taiwanese-language films (taiyupian). Journal of Chinese Cinemas, 14(2), 72-75. doi:10.1080/17508061.2020.1778831Buttimer, A. (1976). Grasping the dynamism of lifeworld. Annals of the Association of American Geographers, 66(2), 277-292. Retrieved from http://www.jstor.org/stable/2562470Brison, S. J. (1999). Trauma narratives and the remaking of the self. In B. Mieke, C. Jonathan, & S. Leo (Eds.), Acts of memory: Cultural recall in the present (pp. 39-54). Hanover: University Press of New England.Chang, B.-y. (2006). Constructing the motherland: Culture and the state since the 1990s. In D. Fell, H. Klöter, & B.-y. Chang (Eds.), What has changed? Taiwan before and after the change in ruling parties (Vol. 4). Wiesbaden: Harrassowitz Verlag.Chang, B.-y. (2011). So close, yet so far away: Imaging Chinese `homeland` in Taiwan`s geography education (1945--68). Cultural Geographies, 18(3), 385-411. doi:10.1177/1474474010384914Chen, C.-F. (2022). Daoyan ji dazhong shijia: Dianying "Fanxiao" de lishi shuxie yuyishi [Film-Maker as public historian: The historical writing and historical consciousness of the movie "Detention"]. (Master`s thesis). Retrieved from National Digital Library of Theses and Dissertations in Taiwan database.Chen, C.-y. & Yang, Y.-l. (Producers), & Hou, C.-j (Director). (2005). Taiwan hei dianying [Taiwan black movies] [Motion picture]. 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Super Citizen Ko [Motion picture]. Taiwan: Wan Jen Films Ltd. 描述 碩士
國立政治大學
國際傳播英語碩士學位學程(IMICS)
109461023資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109461023 資料類型 thesis dc.contributor.advisor 陳儒修 zh_TW dc.contributor.advisor Robert Chen en_US dc.contributor.author (Authors) 楊雅雯 zh_TW dc.contributor.author (Authors) Duong Nha Van en_US dc.creator (作者) 楊雅雯 zh_TW dc.creator (作者) Van, Duong Nha en_US dc.date (日期) 2023 en_US dc.date.accessioned 2-Jun-2023 11:39:07 (UTC+8) - dc.date.available 2-Jun-2023 11:39:07 (UTC+8) - dc.date.issued (上傳時間) 2-Jun-2023 11:39:07 (UTC+8) - dc.identifier (Other Identifiers) G0109461023 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/145060 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 國際傳播英語碩士學位學程(IMICS) zh_TW dc.description (描述) 109461023 zh_TW dc.description.abstract (摘要) 自從蔣經國總統宣布解除戒嚴以來已經過了六十多年，但白色恐怖仍然是台灣史上最重要的時期之一。當島嶼開始踏上尋找自我認同並尋求國際認可之旅時，白色恐怖也更加重要，因為這證明只有像台灣這種民主自由國家才能克服最黑暗的一段歷史。這個觀念也延伸到電影界，白色恐怖仍然是許多電影製作者的靈感來源。根據白色恐怖對於台灣電影的重要性，本研究將探討三部不同年代的電影，包括《悲情城市》（1989年），《超級大國民》（1995年）和《幸福路上》（2017年），來探究白色恐怖在電影中的呈現方式。研究將論證每部電影中持續而獨特的白色恐怖議題，對於建構台灣意識有怎麼樣重大的貢獻，而這也是本土化的重要建構過程之一。本研究將定位為文化研究，採用符號學和文本分析兩種主要方法。透過此研究，將經典和當代電影連起來，進行比較分析，提供對於台灣電影中白色恐怖的描繪，以及對本土化與台灣意識的影響。 zh_TW dc.description.abstract (摘要) More than six decades have passed since former president Chiang Ching-kuo declared the lifting of martial law, yet White Terror continues as one of the most important historical periods in Taiwanese history. As the island embarks on a journey to define its own identity and seek for international recognition, White Terror becomes even more essential of a topic than ever because it is a solid proof that only a democratic, free nation like Taiwan can embrace one of the darkest, if not the darkest, past sufferings. This idea also expands to the film industry, where White Terror persists to be an inspiration for generations of filmmakers.Given the importance of White Terror in Taiwan cinema, this study will be examining the representation of White Terror in three different films from three distinct decades, including A City of Sadness (悲情城市, 1989), Super Citizen Ko (超級大國民, 1995) and On Happiness Road (幸福路上, 2017). From then, it argues that the persistent yet distinctive presence of White Terror in each film contributes to the building of Taiwanese consciousness, which is also one of the crucial constructs in the Taiwanization movement (本土化). In order to achieve the proposed objectives, this study identifies itself as a cultural studies project and adopts two primary methodologies including semiotics and textual analysis. In doing so, this research connects the classic and the contemporary films to create a comparative study that provides an outlook into the portrayals of White Terror in Taiwan cinema and its future prospects as a part of Taiwanization. en_US dc.description.tableofcontents CHAPTER 1. INTRODUCTION 11.1 Motivation 11.2 Purpose 21.3 Research Questions 41.4 Thesis Structure 5CHAPTER 2. LITERATURE REVIEW 72.1 History of Taiwan Cinema 82.1.1 Japanese Ruling Period 82.1.2 Post-1945 and Prior to Taiwan New Cinema 102.1.3 Taiwan New Cinema 152.1.4 Second Wave of Taiwan New Cinema 182.2 The White Terror Era: The Origin, The People and The US Involvement 212.2.1 The Origin: The Chinese Civil War 212.2.2 The People: Chen Yi, Chiang Kai-shek and Chiang Ching-kuo 22Chen Yi 22Chiang Kai-shek 24Chiang Ching-kuo 262.2.3 The US Involvement 282.3 Taiwanization: The Building of the Taiwanese Consciousness 302.3.1 Taiwanization under the KMT regime 312.3.2 Taiwanization under the DPP regime 342.3.3 Taiwanization in Taiwan Cinema 362.4 Previous Studies 382.4.1 Presenting White Terror through classic works 382.4.2 Presenting White Terror through contemporary works 412.4.3 Taiwanization 44CHAPTER 3. METHODOLOGY 47CHAPTER 4 – FINDINGS 534.1 A City of Sadness 534.1.1 Plot 534.1.2 Portrayals of White Terror 54How White Terror is Told Through Different Media 54A Confusing Society 55The Discussion of Chen Yi 58False Imagination Toward the Motherland 604.1.3 The Using of Songs 624.1.4 The Lin Brothers as National Allegory 644.1.5 Women`s Roles 724.2 Super Citizen Ko 734.2.1 Plot 744.2.2 Portrayals of White Terror Through Memories 75White Terror in Flashbacks and Documented Footage 75Places as Trauma 78Questioning the Taiwanese Identity 814.2.3 The Using of Songs 834.2.4 Characters as Allegorical Figures in Post-White Terror 874.2.5 Women`s Roles 934.3 On Happiness Road 974.3.1 Plot 984.3.2 Portrayals of White Terror in the Modern Taiwan Society 99White Terror Romanticization 99The Emergence of DPP and Chi`s Thought Transition 102Taiwanese Identity and Foreign Favoritism 1044.3.3 The Using of Songs 1074.3.4 Characters as International Allegorical Figures 1124.3.5 Women`s Roles 118CHAPTER 5. CONCLUSION 1225.1 Findings Summary and Discussion 1225.2 Whose Consciousness? 1255.3 Reflection and Future Study Suggestions 130REFERENCES 133 zh_TW dc.format.extent 6263167 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109461023 en_US dc.subject (關鍵詞) 悲情城市 zh_TW dc.subject (關鍵詞) 超級大國民 zh_TW dc.subject (關鍵詞) 幸福路上 zh_TW dc.subject (關鍵詞) 白色恐怖 zh_TW dc.subject (關鍵詞) 本土化 zh_TW dc.subject (關鍵詞) 台灣意識 zh_TW dc.subject (關鍵詞) A City of Sadness en_US dc.subject (關鍵詞) Super Citizen Ko en_US dc.subject (關鍵詞) On Happiness Road en_US dc.subject (關鍵詞) White Terror en_US dc.subject (關鍵詞) Taiwanization en_US dc.subject (關鍵詞) Taiwanese consciousness en_US dc.title (題名) 描繪白色恐怖的台灣電影：從《悲情城市》到《幸福路上》 zh_TW dc.title (題名) Portraying White Terror in Taiwan Cinema Through the Decades: Marching away from Sadness City to Happiness Road en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Andrew, J. D. (1976). The major film theories: An introduction. New York: Oxford University Press.Akbari-Dibavar, A. (2016). Speaking trauma: silences and romanticization. Critical Studies on Security, 4(1), 125-128. doi:10.1080/21624887.2016.1163951Barthes, R. (1968). Elements of semiology (A. Lavers & C. Smith, Trans.). New York: Hill and Wang.Barthes, R. (1972). Mythologies (A. Lavers, Trans.). New York: The Noonday Press.Baskett, M. (2008). The attractive empire: Transnational film culture in imperial Japan. Honolulu, United States: University of Hawaii Press.Berger, J. (1972). Ways of seeing. London: Penguin Books.Berry, C., & Lu, F. (2005). Introduction. In C. Berry & F. Lu (Eds.), Island on the edge: Taiwan New Cinema and after (pp. 1-12). Hong Kong: Hong Kong University Press.Berry, C., & Rawnsley, M.-y. T. (2020). Introduction to a special issue on Taiwanese-language films (taiyupian). Journal of Chinese Cinemas, 14(2), 72-75. doi:10.1080/17508061.2020.1778831Buttimer, A. (1976). Grasping the dynamism of lifeworld. Annals of the Association of American Geographers, 66(2), 277-292. Retrieved from http://www.jstor.org/stable/2562470Brison, S. J. (1999). Trauma narratives and the remaking of the self. In B. Mieke, C. Jonathan, & S. Leo (Eds.), Acts of memory: Cultural recall in the present (pp. 39-54). Hanover: University Press of New England.Chang, B.-y. (2006). Constructing the motherland: Culture and the state since the 1990s. In D. Fell, H. Klöter, & B.-y. Chang (Eds.), What has changed? Taiwan before and after the change in ruling parties (Vol. 4). Wiesbaden: Harrassowitz Verlag.Chang, B.-y. (2011). So close, yet so far away: Imaging Chinese `homeland` in Taiwan`s geography education (1945--68). Cultural Geographies, 18(3), 385-411. doi:10.1177/1474474010384914Chen, C.-F. (2022). Daoyan ji dazhong shijia: Dianying "Fanxiao" de lishi shuxie yuyishi [Film-Maker as public historian: The historical writing and historical consciousness of the movie "Detention"]. (Master`s thesis). Retrieved from National Digital Library of Theses and Dissertations in Taiwan database.Chen, C.-y. & Yang, Y.-l. (Producers), & Hou, C.-j (Director). (2005). Taiwan hei dianying [Taiwan black movies] [Motion picture]. Taiwan: Shih Kuang Creative.Chen, R.-s. (1996). Lishi yu jiyi: Cong "Hao Nan Hao Nu" dao "Chaoji Da Guomin" [History and memory: From "Good Men, Good Women" to "Super Citizen Ko"]. Zhongwai wenxue, 25(5), 47-57. doi:10.6637/CWLQ.1996.25(5).47-57Chen, S.-Y. (2016). Taiwanization: Affective politics in post-martial law Taiwan. (Master`s thesis). Retrieved from National Digital Library of Theses and Dissertations in Taiwan database.Chiang, K.-s. (1990). Two supplementary chapters. In Sanmin zhuyi [The three principles of the people]. Taipei: Government Information Office.Chiu, K.-f. (2007). The vision of Taiwan new documentary. In D. W. Davis & R.-s. R. Chen (Eds.), Cinema Taiwan: Politics, popularity and state of the arts (pp. 17-32). 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