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題名 超越通俗劇：舒馬克的歌劇魅影（2004）
Transcending Melodrama: Joel Schumacher’s The Phantom of the Opera (2004)作者 林思敏
Lam, Sze Man貢獻者 姜翠芬
Jiang, Tsui-fen
林思敏
Lam, Sze Man關鍵詞 《歌劇魅影》
喬伊·舒馬克
安德魯·洛伊·韋伯
通俗劇
The Phantom of the Opera
Joel Schumacher
Andrew Lloyd Webber
melodrama日期 2023 上傳時間 2-Aug-2023 14:02:06 (UTC+8) 摘要 改編自安德魯·洛伊·韋伯1986年的同名音樂劇，靈感同時來自卡斯頓·勒胡於1910年所出版的法國小說《歌劇魅影》──2004年舒馬克執導的電影改編版《歌劇魅影》將觀眾帶入了通俗劇的世界。通俗劇因使用了固定的人物形象和公式化的情節安排而一直被學者蔑視並被視為低級文化。然而，學者忽視了通俗劇在改寫傳統和公式方面的靈活性和適應性。本論文以《歌劇魅影》（2004）為通俗劇範例，探討編劇安德魯·洛伊·韋伯和喬伊·舒馬克如何利用通俗劇元素並同時顛覆它們，繼而超越通俗劇的限制。從角色塑造和情節安排方面來說，本論文主張這部電影比傳統的通俗劇更加複雜和多維，成為了現代通俗劇發展的一個例證。
Based on Andrew Lloyd Webber`s 1986 musical of the same title, which in turn is inspired by the 1910 French novel Le Fantôme de l`Opéra by Gaston Leroux, the 2004 film adaptation of The Phantom of the Opera, directed by Joel Schumacher, brings the audience to the world of melodrama. Melodrama has long been despised and regarded as low culture by scholars, due to its use of stock characterization and formulaic plot arrangement. However, the scholars overlook the flexibility and adaptability of modern melodrama in rewriting the traditions and formulas. This thesis, focusing on The Phantom of the Opera (2004) as a melodrama, explores how the screenwriters, Andrew Lloyd Webber and Joel Schumacher, utilize the melodramatic elements and subvert them at the same time, transcending the limitations of melodramas. I argue that, different from the traditional melodramas, the 2004 film adaptation of The Phantom of the Opera justifies how this modern melodrama proves itself as a valuable and respectable literary artwork, due to its portrayal of the complexity of human nature and melodramatic but innovative plot rewrite. In this film, the screenwriters utilize the melodramatic elements and subvert them at the same time, so as to go beyond the limitations of melodramas.參考文獻 Abrams, M. H., and Geoffrey Galt Harpham. A Glossary of Literary Terms. Cengage Learning, 2015.Aristotle. Poetics. Translated by Anthony Kenny, Oxford UP, 2013.Biodrowski, Steve. “Film Review: The Phantom of the Opera (2004).” Hollywood Gothique, 22 June 2019, http://new.hollywoodgothique.com/review-phantom-opera-2004/.Boos, Kristin Ashlee. The Mega-, Melo-, and Meta-Drama in Adaptations of The Phantom of the Opera. 2008. College of William and Mary, Undergraduate thesis.Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. Yale UP, 1995.Desilet, Gregory E. Our Faith in Evil: Melodrama and the Effects of Entertainment Violence. McFarland, 2006.Gledhill, Christine. “The Melodramatic Field: An Investigation.” Home Is Where the Heart Is: Studies in Melodrama and the Woman`s Film, edited by Christine Gledhill, British FiIm Institute, London, 1987, pp. 5–42.Glover, Robert A. NO MORE MR. NICE GUY!: A Proven Plan for Getting What You Want In Love, Sex and Life. Ebook ed., Barnes & Noble Digital, 2000.H., Chelsea R. “The Phantom of the Opera: Book vs. Musical vs. Movie.” An Ordinary Pen, 15 Feb. 2018, https://anordinarypen.wordpress.com/2018/02/15/the-phantom-of-the-opera-book-vs-musical-vs-movie/.Herget, Winfried. “Villains for Pleasure? The Paradox of Nineteenth-Century (American) Melodrama.” Melodrama!: The Mode of Excess from Early America to Hollywood, edited by Frank Kelleter et al., Universitätsverlag Winter, Heidelberg, 2007, pp. 19–34.Hiles, M. T. “Movie vs Musical: The Phantom of the Opera.” M. T. Hiles Writing, 2 June 2021, https://mthiles.com/2021/06/01/movie-vs-musical-the-phantom-of-the-opera/.Holman, C. Hugh. A Handbook of Literature. Macmillan, 1992.Howe, Blake, et al. “`Pitiful Creature of Darkness`: The Subhuman and the Superhuman in The Phantom of the Opera.” The Oxford Handbook of Music and Disability Studies, Oxford UP, Oxford, 2016, pp. 795–814.Ingarden, Roman. “A Marginal Commentary on Aristotle`s Poetics. Part II.” The Journal of Aesthetics and Art Criticism, vol. 20, no. 3, 1962, pp. 273–285.James, Henry. The Art of Criticism: Henry James on the Theory and Practice of Fiction. Edited by William R. Veeder and Susan M. Griffin, University of Chicago Press, 1986.Kavaler-Adler, Susan. “Object Relations Perspectives on ‘Phantom of the Opera’ and Its Demon Lover Theme: The Modern Film.” The American Journal of Psychoanalysis, vol. 69, no. 2, 2009, pp. 150–166.Keller, Simon. “Moral Blackmail and the Family.” Journal of Moral Philosophy, vol. 13, no. 6, 2016, pp. 699–719.Kelleter, Frank, et al. “The Melodramatic Mode Revisted. An Introduction.” Melodrama!: The Mode of Excess from Early America to Hollywood, edited by Barbara Krah and Ruth Mayer, Universitätsverlag Winter, Heidelberg, 2007, pp. 7–17.Lardy, Leonard Anthony. McTeague: A Study in Determinism, Romanticism, and Fascism. 1959. The University of Montana, MA thesis.Lee, Changnam. “The Ghost-Image on Metropolitan Borders-In Terms of Phantom of the Opera and 19th-Century Metropolis Paris.” Societies, vol. 4, no. 1, 2013, pp. 1–15.Leroux, Gaston. The Phantom of The Opera. Harper Perennial, 1987.Lloyd Webber, Andrew, and Joel Schumacher. Script of The Phantom of the Opera. Script Slug, https://www.scriptslug.com/script/phantom-of-the-opera-2004Lloyd Webber, Andrew, et al. Libretto of The Phantom of the Opera (1986 Musical). PDFCOFFEE, https://pdfcoffee.com/phantom-of-the-opera-full-musical-script-deluxe-version-pdf-free.htmlMcKee, Alison L. “‘Think of Me Fondly’: Voice, Body, Affect and Performance in Prince/Lloyd Webber’s The Phantom of the Opera.” Studies in Musical Theatre, vol. 7, no. 3, 2013, pp. 309–325.Morse, William R. “Desire and the Limit of Melodrama.” Themes in Drama: Melodrama, edited by James Redmond, vol. 14, Cambridge UP, 1993, pp. 17–30.Moura, Caroline Navarrina de, et al. “From the Damsel in Distress to the Female Hero: the Wanderings of Christine Daaé in Gaston Leroux`s The Phantom Of The Opera and Its Last Film Adaptation.” ITINERÁRIOS, 2018, pp. 101–117.Newman, Kim. “The Phantom of the Opera.” Sight and Sound, Feb. 2005, pp. 65–66.Phelan, James. “Authors, Resources, Audiences: Toward a Rhetorical Poetics of Narrative.” Style, vol. 52, no. 1-2, 2018, pp. 1–34.Postlewait, Thomas. “From Melodrama to Realism: The Suspect History of American Drama.” Melodrama: The Cultural Emergence of a Genre, edited by Michael Hays and Anastasia Nikolopoulou, St. Martin`s Press, New York, 1999, pp. 39–60.Rahill, Frank. The World of Melodrama. Pennsylvania State UP, 1967.Rebeck, Theresa. Your Cries Are in Vain: A Theory of the Melodramatic Heroine. 1989. Brandeis University, PhD dissertation.Rooney, Monique. “Voir Venir: The Future of Melodrama?” Australian Humanities Review, no. 54, 2013, pp. 81–102.Rush, Adam. “The ‘Phan’-Dom of the Opera: Gothic Fan Cultures and Intertextual Otherness.” Contemporary Gothic Drama, 2018, pp. 139–158.Ryan, Marie-Laure. “Cheap Plot Tricks, Plot Holes, and Narrative Design.” Narrative, vol. 17, no. 1, Jan. 2008, pp. 56–75.Schumacher, Joel, director. The Phantom of the Opera. Entertainment in Video, 2004.Shah, Raj. “The Publication and Initial French Reception of Gaston Leroux`s Le Fantôme De L`opéra.” French Studies Bulletin, vol. 37, no. 138, 2016, pp. 13–16.Smith, James L. Melodrama. Edited by John D. Smith, vol. 28, The Critical Idiom, Me-thuen, 1973.Sternfeld, Jessica. “`Pitiful Creature of Darkness`: The Subhuman and the Superhuman in The Phantom of the Opera.” The Oxford Handbook of Music and Disability Studies, edited by Blake Howe et al., Oxford UP, Oxford, 2016, pp. 795–814.Walter, Benjamin. One-Way Street and Other Writings. Translated by J. A. Underwood, Penguin, 2009.Winkler, Amanda Eubanks. “Politics and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera.” Cambridge Opera Journal, vol. 26, no. 3, 2014, pp. 271–287.Zarzosa, Agustin. “Melodrama and the Modes of the World.” Discourse, vol. 32, no. 2, 2010, pp. 236–255. 描述 碩士
國立政治大學
英國語文學系
110551025資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110551025 資料類型 thesis dc.contributor.advisor 姜翠芬 zh_TW dc.contributor.advisor Jiang, Tsui-fen en_US dc.contributor.author (Authors) 林思敏 zh_TW dc.contributor.author (Authors) Lam, Sze Man en_US dc.creator (作者) 林思敏 zh_TW dc.creator (作者) Lam, Sze Man en_US dc.date (日期) 2023 en_US dc.date.accessioned 2-Aug-2023 14:02:06 (UTC+8) - dc.date.available 2-Aug-2023 14:02:06 (UTC+8) - dc.date.issued (上傳時間) 2-Aug-2023 14:02:06 (UTC+8) - dc.identifier (Other Identifiers) G0110551025 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/146560 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 英國語文學系 zh_TW dc.description (描述) 110551025 zh_TW dc.description.abstract (摘要) 改編自安德魯·洛伊·韋伯1986年的同名音樂劇，靈感同時來自卡斯頓·勒胡於1910年所出版的法國小說《歌劇魅影》──2004年舒馬克執導的電影改編版《歌劇魅影》將觀眾帶入了通俗劇的世界。通俗劇因使用了固定的人物形象和公式化的情節安排而一直被學者蔑視並被視為低級文化。然而，學者忽視了通俗劇在改寫傳統和公式方面的靈活性和適應性。本論文以《歌劇魅影》（2004）為通俗劇範例，探討編劇安德魯·洛伊·韋伯和喬伊·舒馬克如何利用通俗劇元素並同時顛覆它們，繼而超越通俗劇的限制。從角色塑造和情節安排方面來說，本論文主張這部電影比傳統的通俗劇更加複雜和多維，成為了現代通俗劇發展的一個例證。 zh_TW dc.description.abstract (摘要) Based on Andrew Lloyd Webber`s 1986 musical of the same title, which in turn is inspired by the 1910 French novel Le Fantôme de l`Opéra by Gaston Leroux, the 2004 film adaptation of The Phantom of the Opera, directed by Joel Schumacher, brings the audience to the world of melodrama. Melodrama has long been despised and regarded as low culture by scholars, due to its use of stock characterization and formulaic plot arrangement. However, the scholars overlook the flexibility and adaptability of modern melodrama in rewriting the traditions and formulas. This thesis, focusing on The Phantom of the Opera (2004) as a melodrama, explores how the screenwriters, Andrew Lloyd Webber and Joel Schumacher, utilize the melodramatic elements and subvert them at the same time, transcending the limitations of melodramas. I argue that, different from the traditional melodramas, the 2004 film adaptation of The Phantom of the Opera justifies how this modern melodrama proves itself as a valuable and respectable literary artwork, due to its portrayal of the complexity of human nature and melodramatic but innovative plot rewrite. In this film, the screenwriters utilize the melodramatic elements and subvert them at the same time, so as to go beyond the limitations of melodramas. en_US dc.description.tableofcontents Acknowledgement iiiChinese Abstract vEnglish Abstract viChapter One: Introduction 1Chapter Two: Transcending Melodramatic Characterization 19Chapter Three: Innovative Plot Arrangement 44Chapter Four: Conclusion 63Works Cited 67 zh_TW dc.format.extent 776438 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110551025 en_US dc.subject (關鍵詞) 《歌劇魅影》 zh_TW dc.subject (關鍵詞) 喬伊·舒馬克 zh_TW dc.subject (關鍵詞) 安德魯·洛伊·韋伯 zh_TW dc.subject (關鍵詞) 通俗劇 zh_TW dc.subject (關鍵詞) The Phantom of the Opera en_US dc.subject (關鍵詞) Joel Schumacher en_US dc.subject (關鍵詞) Andrew Lloyd Webber en_US dc.subject (關鍵詞) melodrama en_US dc.title (題名) 超越通俗劇：舒馬克的歌劇魅影（2004） zh_TW dc.title (題名) Transcending Melodrama: Joel Schumacher’s The Phantom of the Opera (2004) en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Abrams, M. H., and Geoffrey Galt Harpham. A Glossary of Literary Terms. Cengage Learning, 2015.Aristotle. Poetics. Translated by Anthony Kenny, Oxford UP, 2013.Biodrowski, Steve. “Film Review: The Phantom of the Opera (2004).” Hollywood Gothique, 22 June 2019, http://new.hollywoodgothique.com/review-phantom-opera-2004/.Boos, Kristin Ashlee. The Mega-, Melo-, and Meta-Drama in Adaptations of The Phantom of the Opera. 2008. College of William and Mary, Undergraduate thesis.Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. Yale UP, 1995.Desilet, Gregory E. Our Faith in Evil: Melodrama and the Effects of Entertainment Violence. McFarland, 2006.Gledhill, Christine. “The Melodramatic Field: An Investigation.” Home Is Where the Heart Is: Studies in Melodrama and the Woman`s Film, edited by Christine Gledhill, British FiIm Institute, London, 1987, pp. 5–42.Glover, Robert A. NO MORE MR. NICE GUY!: A Proven Plan for Getting What You Want In Love, Sex and Life. Ebook ed., Barnes & Noble Digital, 2000.H., Chelsea R. “The Phantom of the Opera: Book vs. Musical vs. Movie.” An Ordinary Pen, 15 Feb. 2018, https://anordinarypen.wordpress.com/2018/02/15/the-phantom-of-the-opera-book-vs-musical-vs-movie/.Herget, Winfried. “Villains for Pleasure? The Paradox of Nineteenth-Century (American) Melodrama.” Melodrama!: The Mode of Excess from Early America to Hollywood, edited by Frank Kelleter et al., Universitätsverlag Winter, Heidelberg, 2007, pp. 19–34.Hiles, M. T. “Movie vs Musical: The Phantom of the Opera.” M. T. Hiles Writing, 2 June 2021, https://mthiles.com/2021/06/01/movie-vs-musical-the-phantom-of-the-opera/.Holman, C. Hugh. A Handbook of Literature. Macmillan, 1992.Howe, Blake, et al. “`Pitiful Creature of Darkness`: The Subhuman and the Superhuman in The Phantom of the Opera.” The Oxford Handbook of Music and Disability Studies, Oxford UP, Oxford, 2016, pp. 795–814.Ingarden, Roman. “A Marginal Commentary on Aristotle`s Poetics. Part II.” The Journal of Aesthetics and Art Criticism, vol. 20, no. 3, 1962, pp. 273–285.James, Henry. The Art of Criticism: Henry James on the Theory and Practice of Fiction. Edited by William R. Veeder and Susan M. Griffin, University of Chicago Press, 1986.Kavaler-Adler, Susan. “Object Relations Perspectives on ‘Phantom of the Opera’ and Its Demon Lover Theme: The Modern Film.” The American Journal of Psychoanalysis, vol. 69, no. 2, 2009, pp. 150–166.Keller, Simon. “Moral Blackmail and the Family.” Journal of Moral Philosophy, vol. 13, no. 6, 2016, pp. 699–719.Kelleter, Frank, et al. “The Melodramatic Mode Revisted. An Introduction.” Melodrama!: The Mode of Excess from Early America to Hollywood, edited by Barbara Krah and Ruth Mayer, Universitätsverlag Winter, Heidelberg, 2007, pp. 7–17.Lardy, Leonard Anthony. McTeague: A Study in Determinism, Romanticism, and Fascism. 1959. The University of Montana, MA thesis.Lee, Changnam. “The Ghost-Image on Metropolitan Borders-In Terms of Phantom of the Opera and 19th-Century Metropolis Paris.” Societies, vol. 4, no. 1, 2013, pp. 1–15.Leroux, Gaston. The Phantom of The Opera. Harper Perennial, 1987.Lloyd Webber, Andrew, and Joel Schumacher. Script of The Phantom of the Opera. Script Slug, https://www.scriptslug.com/script/phantom-of-the-opera-2004Lloyd Webber, Andrew, et al. Libretto of The Phantom of the Opera (1986 Musical). PDFCOFFEE, https://pdfcoffee.com/phantom-of-the-opera-full-musical-script-deluxe-version-pdf-free.htmlMcKee, Alison L. “‘Think of Me Fondly’: Voice, Body, Affect and Performance in Prince/Lloyd Webber’s The Phantom of the Opera.” Studies in Musical Theatre, vol. 7, no. 3, 2013, pp. 309–325.Morse, William R. “Desire and the Limit of Melodrama.” Themes in Drama: Melodrama, edited by James Redmond, vol. 14, Cambridge UP, 1993, pp. 17–30.Moura, Caroline Navarrina de, et al. “From the Damsel in Distress to the Female Hero: the Wanderings of Christine Daaé in Gaston Leroux`s The Phantom Of The Opera and Its Last Film Adaptation.” ITINERÁRIOS, 2018, pp. 101–117.Newman, Kim. “The Phantom of the Opera.” Sight and Sound, Feb. 2005, pp. 65–66.Phelan, James. “Authors, Resources, Audiences: Toward a Rhetorical Poetics of Narrative.” Style, vol. 52, no. 1-2, 2018, pp. 1–34.Postlewait, Thomas. “From Melodrama to Realism: The Suspect History of American Drama.” Melodrama: The Cultural Emergence of a Genre, edited by Michael Hays and Anastasia Nikolopoulou, St. Martin`s Press, New York, 1999, pp. 39–60.Rahill, Frank. The World of Melodrama. Pennsylvania State UP, 1967.Rebeck, Theresa. Your Cries Are in Vain: A Theory of the Melodramatic Heroine. 1989. Brandeis University, PhD dissertation.Rooney, Monique. “Voir Venir: The Future of Melodrama?” Australian Humanities Review, no. 54, 2013, pp. 81–102.Rush, Adam. “The ‘Phan’-Dom of the Opera: Gothic Fan Cultures and Intertextual Otherness.” Contemporary Gothic Drama, 2018, pp. 139–158.Ryan, Marie-Laure. “Cheap Plot Tricks, Plot Holes, and Narrative Design.” Narrative, vol. 17, no. 1, Jan. 2008, pp. 56–75.Schumacher, Joel, director. The Phantom of the Opera. Entertainment in Video, 2004.Shah, Raj. “The Publication and Initial French Reception of Gaston Leroux`s Le Fantôme De L`opéra.” French Studies Bulletin, vol. 37, no. 138, 2016, pp. 13–16.Smith, James L. Melodrama. Edited by John D. Smith, vol. 28, The Critical Idiom, Me-thuen, 1973.Sternfeld, Jessica. “`Pitiful Creature of Darkness`: The Subhuman and the Superhuman in The Phantom of the Opera.” The Oxford Handbook of Music and Disability Studies, edited by Blake Howe et al., Oxford UP, Oxford, 2016, pp. 795–814.Walter, Benjamin. One-Way Street and Other Writings. Translated by J. A. Underwood, Penguin, 2009.Winkler, Amanda Eubanks. “Politics and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera.” Cambridge Opera Journal, vol. 26, no. 3, 2014, pp. 271–287.Zarzosa, Agustin. “Melodrama and the Modes of the World.” Discourse, vol. 32, no. 2, 2010, pp. 236–255. zh_TW
