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    Please use this identifier to cite or link to this item: http://nccur.lib.nccu.edu.tw/handle/140.119/122090

    Title: 從歌仔戲到歌仔戲電影(1955-1981)之探討 --從認同、混雜性與演變三方面論述
    From Taiwanese Opera to Taiwanese Opera Film: A discussion on its CultureIdentity, Hybridity and Evolution
    Authors: 王亞維
    Wang, Yae-Wei
    Contributors: 廣電系
    Keywords: Taiwanese Opera;Taiwanese Opera Film;Hybridity;Culture Indentity
    Date: 2018-06
    Issue Date: 2019-01-22 16:47:28 (UTC+8)
    Abstract: The policies of Kominka(imperialization) were executed by Japanese colonial government to transform the identity of Taiwanese people to Japanese from 1942 to 1945. Traditional Taiwanese opera (Gēzǐxì) as an influential culture form was forced to adapt itself to a western theater style with Japanese language and culture elements. Sinicized policies employed by Chinese KMT government replaced Japan's domination on local culture reform after the Empire’s fall in the war . The soaring market on the island formed another platform for the Taiwanese Opera troupes to combine the stories and discourse elements of popular Chinese martial art films, Japanese Samurai Films, local popular songs and traditional Chinese operas with exaggerated style. This popular new style was named O-Pei-La drama (胡撇子戲). It represented a diversified and heterogeneous space of culture identities against homogeneous nationalism from China, echoes HomiK.Bhabha's argument on post-colonial culture phenomenon characterized by hybridity and culture identity. Taiwanese Opera Film(1955-1981) emerged in the same hybrid context and became a new entertaining form especially in rural areas. Its popularity derived the golden era of local dialect film production and constructed the film industry beyond state studios ever since. However, Taiwanese Opera Film had been prosperous within ten years and suddenly declined after 1965. It was seen as a byproduct of Taiwanese Opera theater or an insignificant genre of Taiwan dialect movies among previous studies. This article tries to redefine meanings of Taiwanese Opera Film under transnational political and cultural contexts under the cold war in Asia. This research will discuss the transformation of Taiwanese Opera film as a culture identity form from the works of early independent filmmaking to the film culture industry. I will argue the hybridity cleansing might doomed the age Taiwanese Opera Film as well as the dialect films to and end around 1981.
    Relation: 戲曲學報, No.18, pp.85-126
    Data Type: article
    Appears in Collections:[Department of Radio & Television & Graduate Program] Periodical Articles

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