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題名 電影與轉型正義的交織：以類型分析初探當代轉型國家再現威權之電影
The Interplay of Film and Transitional Justice: An Initial Exploration through Genre Analysis of Authoritarian Representation in Contemporary Transitional States作者 金佩瑾
Chin, Pey-Jing貢獻者 陳百齡
Chen, Pai-Lin
金佩瑾
Chin, Pey-Jing關鍵詞 轉型正義
人權
白色恐怖
電影類型
類型分析
我只是個計程車司機
阿根廷1985
赤色謊言
謊言迷宮
Transitional Justice
Human Rights
White Terror
Film Genres
Genre Analysis
A Taxi Driver
Argentina 1985
Red Dust
Labyrinth of Lies日期 2024 上傳時間 1-Mar-2024 13:50:39 (UTC+8) 摘要 本研究對轉型正義的定義為：轉型社會處理人權侵害遺緒的工程，包含承認人權侵害的事實、負起加害者責任，以達到反省及保證不再發生的目的。有鑒於「電影類型」可以反映社會文化與激發討論，本研究關注隨轉型正義興起、公開人權侵害真相的大眾文化電影，能否演繹為一新型態電影類型，和展現不同時區對於轉型正義的價值，提出研究問題為：世界各國的轉型正義電影類型特色為何？轉型正義電影反映出不同時空背景下，轉型正義的內涵為何？ 本研究運用類型分析方法分析《我只是個計程車司機》（南韓，2017）、《阿根廷1985》（阿根廷，2022）、《赤色謊言》 （南非，2004）、《謊言迷宮》（德國，2014）四部符合人權價值的電影，觀看共有的類型公式及社會美學價值，探討其作為一類型電影的可能性，以期建立鑑別轉型正義電影的方法。 研究發現在類型電影特徵元素上，樣本電影共同協商受難者的形象、展現非典型加害者身份，並以旁觀者在威權時代的自我認同轉變表達不應縱容人權侵犯的價值。風格多運用音效、慢動作、跳接等方式表現人權侵害的情節，作為強調重要性與引發懸念，場景以家庭和法庭為樣本電影主要空間，衝突則發生在世代溝通、受難者待補償適格性的質疑和加害者身份多重性引發的矛盾。樣本電影具有共同的類型元素可以演繹為一轉型正義電影類型，又可以依引發人權迫害的原因分為意識形態衝突或種族衝突兩類次類型，且共同展現重視知情權、悲劇不應再現的轉型正義內涵。
The definition of transitional justice in this study is defined as the process of addressing the legacy of human rights abuses in transitional societies, including acknowledging the facts of human rights violations, holding perpetrators accountable, and guaranting for never happening again. Recognizing that "film genres" can reflect social and cultural aspects, stimulate social discussions, this study focuses on the films that emerged with the rise of democratization, exploring whether those films can be interpreted as a new type of film genre and can showcase the values of transitional justice in different times and countries. The research questions posed are: What are the forms of transitional justice films around the world? What does transitional justice signify in different temporal and spatial backgrounds through these films? This study selected four films, namely " A Taxi Driver" (South Korea, 2017), "Argentina1985" (Argentina, 2022), "Red Dust" (South Africa, 2004), and "Labyrinth of Lies" (Germany, 2014), as samples for analysis. Regarding the characteristic elements of film genres, the sampled films collectively negotiate the image of the victim, atypical perpetrators who protect or compensate victims, and the transformation of self-rights identification among observers, expressing the value of defending human rights violations. In the style of film genres, the films use sound effects, slow-motion, jump cuts, and similar repetitive techniques to depict scenes of human rights violations, emphasizing their importance and creating suspense. Scenes of film genres often include family and courtroom spaces, besides, with conflicts of film genres, focusing on intergenerational communication, the eligibility of compensating victims and perpetrators' identities, including their relationships with family and friends. 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Confronting human rights violations committed by former governments: Applicable principles and political constraints. Hamline Law Review, 13, 623-660. 描述 碩士
國立政治大學
傳播學院傳播碩士學位學程
110464053資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110464053 資料類型 thesis dc.contributor.advisor 陳百齡 zh_TW dc.contributor.advisor Chen, Pai-Lin en_US dc.contributor.author (Authors) 金佩瑾 zh_TW dc.contributor.author (Authors) Chin, Pey-Jing en_US dc.creator (作者) 金佩瑾 zh_TW dc.creator (作者) Chin, Pey-Jing en_US dc.date (日期) 2024 en_US dc.date.accessioned 1-Mar-2024 13:50:39 (UTC+8) - dc.date.available 1-Mar-2024 13:50:39 (UTC+8) - dc.date.issued (上傳時間) 1-Mar-2024 13:50:39 (UTC+8) - dc.identifier (Other Identifiers) G0110464053 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/150197 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院傳播碩士學位學程 zh_TW dc.description (描述) 110464053 zh_TW dc.description.abstract (摘要) 本研究對轉型正義的定義為：轉型社會處理人權侵害遺緒的工程，包含承認人權侵害的事實、負起加害者責任，以達到反省及保證不再發生的目的。有鑒於「電影類型」可以反映社會文化與激發討論，本研究關注隨轉型正義興起、公開人權侵害真相的大眾文化電影，能否演繹為一新型態電影類型，和展現不同時區對於轉型正義的價值，提出研究問題為：世界各國的轉型正義電影類型特色為何？轉型正義電影反映出不同時空背景下，轉型正義的內涵為何？ 本研究運用類型分析方法分析《我只是個計程車司機》（南韓，2017）、《阿根廷1985》（阿根廷，2022）、《赤色謊言》 （南非，2004）、《謊言迷宮》（德國，2014）四部符合人權價值的電影，觀看共有的類型公式及社會美學價值，探討其作為一類型電影的可能性，以期建立鑑別轉型正義電影的方法。 研究發現在類型電影特徵元素上，樣本電影共同協商受難者的形象、展現非典型加害者身份，並以旁觀者在威權時代的自我認同轉變表達不應縱容人權侵犯的價值。風格多運用音效、慢動作、跳接等方式表現人權侵害的情節，作為強調重要性與引發懸念，場景以家庭和法庭為樣本電影主要空間，衝突則發生在世代溝通、受難者待補償適格性的質疑和加害者身份多重性引發的矛盾。樣本電影具有共同的類型元素可以演繹為一轉型正義電影類型，又可以依引發人權迫害的原因分為意識形態衝突或種族衝突兩類次類型，且共同展現重視知情權、悲劇不應再現的轉型正義內涵。 zh_TW dc.description.abstract (摘要) The definition of transitional justice in this study is defined as the process of addressing the legacy of human rights abuses in transitional societies, including acknowledging the facts of human rights violations, holding perpetrators accountable, and guaranting for never happening again. Recognizing that "film genres" can reflect social and cultural aspects, stimulate social discussions, this study focuses on the films that emerged with the rise of democratization, exploring whether those films can be interpreted as a new type of film genre and can showcase the values of transitional justice in different times and countries. The research questions posed are: What are the forms of transitional justice films around the world? What does transitional justice signify in different temporal and spatial backgrounds through these films? This study selected four films, namely " A Taxi Driver" (South Korea, 2017), "Argentina1985" (Argentina, 2022), "Red Dust" (South Africa, 2004), and "Labyrinth of Lies" (Germany, 2014), as samples for analysis. Regarding the characteristic elements of film genres, the sampled films collectively negotiate the image of the victim, atypical perpetrators who protect or compensate victims, and the transformation of self-rights identification among observers, expressing the value of defending human rights violations. In the style of film genres, the films use sound effects, slow-motion, jump cuts, and similar repetitive techniques to depict scenes of human rights violations, emphasizing their importance and creating suspense. Scenes of film genres often include family and courtroom spaces, besides, with conflicts of film genres, focusing on intergenerational communication, the eligibility of compensating victims and perpetrators' identities, including their relationships with family and friends. After analyzing the sampled films in this study, common elements suggest the emergence of a transitional justice film genre with a shared emphasis on the right to know the past about violating human right and never happening again. en_US dc.description.tableofcontents 第一章 緒論 008 第一節 民主化浪潮與轉型正義 008 第二節 轉型正義與大眾文化 010 第三節 分析轉型正義電影的類型 013 第四節 研究問題 015 第二章 文獻探討 018 第一節 轉型正義 018 第二節 轉型正義與大眾文化 031 第三節 電影類型及其分析 037 第三章 研究方法 044 第一節 資料蒐集方法 044 第二節 資料分析方法 050 第四章 研究分析 058 第一節 《我只是個計程車司機》的媒體賦權、公開真相 058 第二節 《阿根廷1985》的不讓悲劇重演 072 第三節 《赤色謊言》的用真相換取族群和解 084 第四節 《謊言迷宮》的再審判與懲戒加害者 096 第五節 轉型正義電影的類型元素特徵 104 第六節 轉型正義電影的共同與相異內涵 113 第七節 小結 115 第五章 研究結論 118 第一節 回應研究問題 119 第二節 研究反思 124 參考文獻 140 zh_TW dc.format.extent 12775335 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110464053 en_US dc.subject (關鍵詞) 轉型正義 zh_TW dc.subject (關鍵詞) 人權 zh_TW dc.subject (關鍵詞) 白色恐怖 zh_TW dc.subject (關鍵詞) 電影類型 zh_TW dc.subject (關鍵詞) 類型分析 zh_TW dc.subject (關鍵詞) 我只是個計程車司機 zh_TW dc.subject (關鍵詞) 阿根廷1985 zh_TW dc.subject (關鍵詞) 赤色謊言 zh_TW dc.subject (關鍵詞) 謊言迷宮 zh_TW dc.subject (關鍵詞) Transitional Justice en_US dc.subject (關鍵詞) Human Rights en_US dc.subject (關鍵詞) White Terror en_US dc.subject (關鍵詞) Film Genres en_US dc.subject (關鍵詞) Genre Analysis en_US dc.subject (關鍵詞) A Taxi Driver en_US dc.subject (關鍵詞) Argentina 1985 en_US dc.subject (關鍵詞) Red Dust en_US dc.subject (關鍵詞) Labyrinth of Lies en_US dc.title (題名) 電影與轉型正義的交織：以類型分析初探當代轉型國家再現威權之電影 zh_TW dc.title (題名) The Interplay of Film and Transitional Justice: An Initial Exploration through Genre Analysis of Authoritarian Representation in Contemporary Transitional States en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 王汎森（2008）。歷史教科書與歷史記憶。思想，(9)，123-139。 王鼎棫（2018年8月10日）。全聯廣告爭議：當轉型正義只停留在擦脂抹粉的畫面。鳴人堂。https://opinion.udn.com/opinion/story/10043/3301324 王韋婷（2019年7月2日）。南韓以常設部會接續轉型正義業務 促轉會借鏡。中央廣播電台。https://www.rti.org.tw/news/view/id/2025959 王揚宇（2019年12月6日）。南韓光州事件 518民主化運動特展來台展覽。中央社。https://www.cna.com.tw/news/ahel/201912060093.aspx 朴栽亨（2017年9月29日）。《我只是個計程車司機》：南韓光州民主化運動及轉型正義。法律白話文運動。https://plainlaw.me/posts/a_taxi_driver 李怡俐（2014）。當代轉型正義的制度與規範脈絡：兼論南韓與臺灣的經驗比較。元照出版。 吳乃德（2005）。導言。載於臺灣民間真相與和解促進會，記憶與遺忘的鬥爭：臺灣轉型正義階段報告（頁17-24）。衛城出版。 吳乃德（2015）。民主時代的威權遺產。載於臺灣民間真相與和解促進會，記憶與遺忘的鬥爭：臺灣轉型正義階段報告（頁 25-68）。衛城出版。 吳豪人 (2012) 。「野蠻」的復權：臺灣修復式正義與轉型正義實踐的困境與脫困之道。臺灣人權學刊，頁 67-93。 花亦芬（2016）。在歷史的傷口上重生：德國走過的轉型正義之路。先覺。 林巧敏（2012）。典藏記憶：檔案館口述歷史工作之規劃與實施。檔案半年刊，11(4)，121-132。 林東泰（2015）。敘事新聞與數位敘事。五南。 林傳凱（2015）。白色恐怖口述史的檢討。載於臺灣民間真相與和解促進會，記憶與遺忘的鬥爭：臺灣轉型正義階段報告（頁 79-116）。衛城出版。 林孟皇（2020年6月5日）。從《謊言迷宮》到《罪人的控訴》：轉型正義能成為「集體罪惡」的疫苗嗎？報導者。https://www.twreporter.org/a/saturday-features-legal-profession-drama-labyrinth-of-lies-the-collini-case 法操司想傳媒（2017年10月16日）。《我只是個計程車司機》：光州事件，當國家變成殺人機器。法操FOLLAW。https://follaw.tw/topic/display/960 高辛勇（1987）。形名學與敘事理論：結構主義的小說分析法。聯經出版。 高誠晚、傅玉香（2018）。南韓與臺灣轉型正義之比較－以濟州4．3事件的問題點為中心。文史臺灣學報，12。 郭亭依（2022）。青年世代的臺灣認同與歷史記憶之形構：以本土遊戲《返校》系列為中心。成功大學臺灣文學系碩士論文。 陳儒修（1996）。歷史與記憶：從《好男好女》到《超級大國民》。中外文學，25(5)，47-57。 陳曉雲（2009）。電影理論基礎。中國電影出版社。 陳俊宏（2015）聯合國處理轉型正義原則。載於臺灣民間真相與和解促進會，記憶與遺忘的鬥爭：臺灣轉型正義階段報告（頁 145-159）。衛城出版。 陳奕秀（2021）。臺灣轉型正義電影與意識形態──在後現代靠近記憶的現場。臺南藝術大學動畫藝術與影像美學研究所碩士論文。 陳青峯（2022）。導演即大眾史家：電影《返校》的歷史書寫與歷史意識。臺北市立大學歷史與地理學系社會科教學碩士學位班碩士論文。 張鎮宏（2023年2月28日）。《阿根廷1985》：為何他們的轉型正義，一直成為被看見的電影？報導者。https://www.twreporter.org/a/opinion-argentina-1985 曹欽榮（2015）。紀念博物館與轉型正義。載於臺灣民間真相與和解促進會，記憶與遺忘的鬥爭：臺灣轉型正義階段報告（頁 117-142）。衛城出版。 程予誠（2008）。電影敘事影像美學 : 剪接理論與實證。五南。 葉虹靈（2005）。各國的轉型正義工作。載於臺灣民間真相與和解促進會，記憶與遺忘的鬥爭：臺灣轉型正義階段報告（頁 69-100）。衛城出版。 葉虹靈（2016年11月1日）。和解典範的開拓者──南非的轉型正義。報導者。https://www.twreporter.org/a/transitionaljustice-series-south-africa 楊照（2005年2月26日）。誰的悲情誰的歌？從影像二二八的記憶政治。[台社論壇]。 從影像反思二二八的記憶政治，台北市，臺灣 楊意菁（2017）。商業雜誌與企業公民訊息：一個縱貫性的媒體再現與框架分析。新聞學研究，130，141-186。 劉立行（1997）。電影理論與批評。五南。 鄭乃瑋（2008）。從光州民主化運動看南韓的轉型正義－人權地圖顯影：南韓。司法改革雜誌，69，28-30。 蕭阿勤（2012）。人與歷史，敘事與現實主義繪畫。文化研究，15，326-334。 戴錦華（2015）。電影批評。北京大學出版社。 藍凡（2012）。電影類型新論，藝術百家，6，133-144。 Altman, R. 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