政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/33329
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文笔数/总笔数 : 109952/140892 (78%)
造访人次 : 46222219      在线人数 : 516
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜寻范围 查询小技巧：
  • 您可在西文检索词汇前后加上"双引号"，以获取较精准的检索结果
  • 若欲以作者姓名搜寻，建议至进阶搜寻限定作者字段，可获得较完整数据
    •  进阶搜寻


    请使用永久网址来引用或连结此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/33329


    题名: 跟蹤客/砍殺電影中的觀看議題
    作者: 林揚
    Lin, Yang
    贡献者: 陳音頤
    Chen, Yin-I
    林揚
    Lin, Yang
    关键词: 跟蹤客/砍殺電影
    電影
    恐怖片
    性別
    觀眾
    父權
    視覺快感
    stalker/slasher films
    films
    horror films
    gender
    spectator
    patriarchy
    visual pleasure
    日期: 2004
    上传时间: 2009-09-17 16:16:58 (UTC+8)
    摘要: 恐怖電影一直都是好萊塢主流電影中一項重要並且流行的一種類型。在一九七零年代末期，出現了一種新型的恐怖片，也就是所謂的跟蹤客/砍殺電影。雖然這類電影誇張地凸顯性別差異，不過還是以其展現出極度暴力以及色情的風格，迅速地受到廣大觀眾的歡迎。過去國外對於此類電影的研究多半由批評家蘿拉•莫薇的觀點出發，指出由於跟蹤客/砍殺電影中男性總被描寫為強壯的角色，而女性總是被窺視及性慾化的個體，因此唯有男性觀眾得以由此類電影當中獲得視覺上的快感。然而，很明顯地此一詮釋並不能夠完全解釋為何女性在跟蹤客/砍殺電影的忠實觀眾中佔有相當的份量。因此，有鑑於此，以及國內對於此類電影研究的稀少，本論文將仔細探討之前詮釋的缺失，並尋找一個更適當及周詳的理論來詮釋兩種性別觀眾的觀看議題，特別是在跟蹤客/砍殺電影這種性別刻畫差異極大的類型中。
    本論文分為四個章節。第一章介紹跟蹤客/砍殺電影如何誇張地呈現性別差異，以及之前的評論家如何詮釋此類電影中的刻板元素。第二章則探討莫薇如何批評好萊塢主流電影為傳播父權意識型態的機制，以及跟蹤客/砍殺電影如何成為此意識型態的傳聲筒。第三章則指出莫薇如何為了將批判父權體系為重心而在引用佛洛依德的理論時刻意忽略了女性在獲得視覺快感的能動性。更重要地，第四章引用「幻象」的概念，指出視覺快感不應該因觀眾的性別而有所不同；唯有在「幻象」的領域中，不管是男性或是女性都可以主動地獲得視覺快感，那怕是像跟蹤客/砍殺電影這種刻意凸顯性別差異的電影類型。最後，第五章為前述論點作個總結，指出「幻象」為現有的理論中最能詮釋觀眾在觀看跟蹤客/砍殺電影時所獲得的視覺快感。
    Horror films have been an important and popular form of mainstream Hollywood films. In the late seventies, a special type of horror films, stalker/slasher films, characterized by their demonstration of extreme violence and sex, immediately attracted a huge amount of spectators despite that males are always depicted as powerful agents whereas females the powerless and eroticized objects. Previous critics analyze stalker/slasher films by adopting Laura Mulvey’s concepts, indicating that only males can require visual pleasure through the films. However, the interpretation obviously fails to account for the fact that females comprise a significant amount of stalker/slasher films spectators. As a result, the thesis aims to indicate the defects of those critics and, moreover, to search for a theory that provides a better interpretation of spectators’ visual pleasure in viewing stalker/slasher films.
    The thesis consists of five chapters. Chapter One introduces how stalker/slasher films dramatize gender differences and how the previous critics analyze their conventional elements. Chapter Two discusses how Mulvey criticizes mainstream Hollywood cinema as a mechanism that spreads patriarchal ideology and how stalker/slasher films manifest the patriarchal ideology. Chapter Three, on the other hand, points out how Mulvey selectively adopts Freud’s theory because of her political nature and how her theory fails to account for a spectatorship with which both men and women can acquire visual pleasure in viewing stalker/slasher films. Most importantly, Chapter Four, introduces the concept of fantasy, indicating that spectatorship should not be demarcated along biological gender lines; within the realm of fantasy both men and women are the active agents acquiring visual pleasure through adopting multiple and fluid spectating positions. Finally, Chapter Five concludes that fantasy may be a better perspective that accounts for not only males’ but also females’ visual pleasure in viewing stalker/slasher films.
    參考文獻: Althusser, Louis. “Ideology and Ideological State Apparatuses.” A Critical and Cultural Theory Reader. Ed. Easthope, Anthony and McGowan, Kate. Open UP, 1992.
    Arbuthnot, Lucy and Seneca, Gail. “Pre-Text and Text.” Gentlemen Prefer Blondes. Conference on Feminist Film Criticism, Nov. 1980. Northwestern University, 1980.
    Bass, Alison. “Do Slasher Films Breed Real-Life Violence?” Gender, Race and Class in Media: A Text-Reader. Thousand Oaks: Sage, 1995.
    Berger, John. Ways of Seeing. London: Penguin, 1972.
    Cantor, Joanne. “‘I’ll Never Have a Clown in My House’ – Why Movie Horror Lives On.” Poetics Today 25:2 (2004): 283-304.
    Cantor, Joanne and Oliver, Mary Beth. “Developmental Differences in Responses to Horror.” Horror Films: Current Research on Audience Preferences and Reactions. Ed. Weaver, James B. and Tamborini, Ron. Mahwah: Lawrence Erlbaum, 1996.
    Carroll, Noel. “Why Horror?” Horror, the Film Reader. Ed. Jancovich, Mark. London: Routledge, 2002.
    Cherry, Brigid. “Refusing to Refuse to Look.” Horror, the Film Reader. Ed. Jancovich, Mark. London: Routledge, 2002.
    Clover, Carol. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton: Princeton UP, 1992.
    Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. London: Macmillan, 1997.
    Cunningham, Scan. Fangoria 10 (January 1981).
    Dickstein, Morris. "The Aesthetics of Fright," American Film 5 no. 10 (September 1980): 33.
    Dika, Vera. Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle. London: Fairleigh Dickinson UP, 1990.
    - - -. “The Stalker Film, 1978-81.” American Horrors: Essays on the Modern American Horror Film. Ed. Waller, Gregory A. Chicago: U of Illinois P, 1987.
    Ellis, John. Visible Fictions. London: Routledge, 1982.
    Freud, Sigmund. “A Case of Paranoia Running Counter to the Psychoanalytic Theory of the Disease.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 14. London: Hogarth, 1953.
    - - -. “A Child Is Being Beaten: A Contribution to the Study of the Origin of Sexual Perversions.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 17. London: Hogarth, 1953.
    - - -. “Beyond the Pleasure Principle.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 18. London: Hogarth, 1953.
    - - -. “Civilization and Its Discontents.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 21. London: Hogarth, 1953.
    - - -. “Construction in Analysis.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 23. London: Hogarth, 1953.
    - - -. “Instincts and their Vicissitudes.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 14. London: Hogarth, 1953.
    - - -. “The Economical Problem in Masochism.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James.Vol. 19. London: Hogarth, 1953.
    - - -. “Three Essays on Sexuality.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James. Vol. 7. London: Hogarth, 1953.
    - - -. “The Interpretation of Dreams.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and ed. Strachey, James. Vol. 5. London: Hogarth, 1953.
    Grant, Barry Keith. The Dread of Difference: Gender and the Horror Film. Austin: Texas UP, 1995.
    Grixti, Joseph. Terrors of Uncertainty: The Cultural Contexts of Horror Fiction. London and New York: Routledge, 1989.
    Hansen, Miriam. “Pleasure, Ambivalence, Identification.” Feminism and Film. Ed. Kaplan, E. Ann. Oxford: Oxford UP, 2000.
    Huffman-Parent, D. A. “The Effects of Images in the Media on the Female Audience.” Online thesis. January 2001. Hyphen’s Thesis. 29 August 2003. < http://www.angelfire.com/weird2/hyphen/ThesisIndex.htm>.
    Johnston, Claire. “Woman`s Cinema as Counter-Cinema.” Notes on Women`s Cinema. Ed. Claire Johnston. London: Screen Pamphlet, 1973).
    Jones, Darryl. Horror: A Thematic History in Fiction and Film. London: Arnold, 2002.
    Kaplan, E. Ann. “Is the Gaze Male?” Feminism and Film. Ed. Kaplan, E. Ann. Oxford: Oxford UP, 2000.
    Katz, Jack. Seductions of Crime: Moral and Sensual Attractions in Doing Evil. New York: BasicBooks, 1988.
    Kaufman, Charles. "Anatomy of Terror." Fangoria 10 (January 1981): 48.
    Krafft-Ebing, Richard von. Psychopathia Sexualis. Trans. F. J. Rebman, from the 12th German ed. n.p., n.d. [orig. ed. 1886]; rpt., New York: Special Books, 1965.
    Lacan, Jacques. Four Fundamental Concepts of Psycho-Analysis. Trans. Sheridan, Alain. Ed. Miller, Jacques-Alain. New York: Penguin, 1977.
    - - -. “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience.” Critical Theory since Plato. Ed. Adams, Hazard. New York: Harcourt Brace Jovanovich College P, 1992.
    Laplanche, Jean and Pontalis, Jean-Bertrand. “Fantasy and the Origins of Sexuality.” Formations of Fantasy. New York: Methuen, 1986.
    - - -. The Language of Psycho-Analysis. New York: Norton, 1974.
    Lott, Berries. Women`s lives : Themes and variations in gender learning. Pacific Grove: Brooks/Cole, 1987.
    Maine, Judith. Cinema and Spectatorship. London: Routledge, 1993.
    Maslin, Janet. “Bloodbaths debase movies and audiences.” New York Times, 21 November 1982, Sec. 2.
    - - -. "Tired Blood Claims the Horror Film as Fresh Victim." New York Times, 1 November 1981, sec. 2.
    McCarty, John. Movie Psychos and Madmen: Film Psychopaths from Jekyll and Hyde to Hannibal Lecter. New York: Citadel, 1993.
    Metz, Christian. Film Theory and Criticism. Ed. Cohen, Marshall, et al. Oxford: Oxford UP, 1992.
    Meyer, M. (1988, March). Keeping a lid on gore and sex. Video Magazine, pp. 75-76.
    Mizruchi, Susan. The Science of Sacrifice: American Literature and Modern Social Theory. Princeton: Princeton UP, 1998.
    Molitor, Fred and Sapolsky, Barry S. “Violence towards Women in Slasher Films: A Reply to Linz and Donnerstein.” Journal of Broadcasting and Electronic Media, 38 (1994): 247-250.
    Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism. Ed. Cohen, Marshall, et al. Oxford: Oxford UP, 1992.
    Nordheimer, J. “Rising Concern with VCR`s: Violent Tapes and the Young. New York Times, 18 May 1987, pp. A1.B9.
    Pajaczkowska, Claire. “The Heterosexual Presumption: A Contribution to the Debate on Pornography.” Screen 22 (1981).
    Pinedo, Isabel Cristina. Recreational Terror: Women and the Pleasures of Horror Film Viewing. New York: State U of New York P, 1997.
    Rodowick, David N. The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film theory. London: Routledge, 1991.
    Safouan, Moustafa. “Men and Women: A Psychoanalytic Point of View.” The Woman in Question: M/f. Ed. Adams, Parveen and Cowie, Elizabeth. London: Verso, 1990.
    Shalit, Gene. “Movie Violence: The Offense to Your Children: What You Can Do.” Ladies Home Journal (October 1980).
    Slocum, J. David. Violence and American Cinema. London: Routledge, 2001.
    Soothill, Keith. Sex Crime in the News. London: Routledge, 1991.
    Stein, Elliot. (. “Have Horror Films Gone Too Far?” New York Times, 20 June 1982, Section 2, pp. 1, 21.
    Studlar, Gaylyn. In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic. New York: Columbia UP, 1988.
    - - -. “Masochism and the Perverse Pleasures of Cinema.” Film Theory and Criticism. Ed. Cohen, Marshall, et al. Oxford: Oxford UP, 1992.
    Twitchwell, James B. Dreadful Pleasures: An Anatomy of Modern Horror. Oxford: Oxford UP, 1985.
    Williams, Linda. Hard Core: Power, Pleasure, and the "Frenzy of the Visible". Berkeley: U of California P, 1999.
    - - -. “When the Woman Looks.” Horror, the Film Reader. London: Routledge, 2002.
    Williamson, Judith. Decoding Advertisement: Ideology and Meaning in Advertising. London: Marion Boyars, 1978.
    Wood, Robin. American Nightmare: Essays on the Horror Film. Toronto: Festival of Festivals, 1979.
    描述: 碩士
    國立政治大學
    英國語文學研究所
    90551008
    93
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0090551008
    数据类型: thesis
    显示于类别:[英國語文學系] 學位論文

    文件中的档案:

    档案 描述 大小格式浏览次数
    55100801.pdf10KbAdobe PDF2782检视/开启
    55100802.pdf12KbAdobe PDF2822检视/开启
    55100803.pdf7KbAdobe PDF2728检视/开启
    55100804.pdf13KbAdobe PDF2834检视/开启
    55100805.pdf49KbAdobe PDF22958检视/开启
    55100806.pdf75KbAdobe PDF2996检视/开启
    55100807.pdf37KbAdobe PDF21224检视/开启
    55100808.pdf54KbAdobe PDF21140检视/开启
    55100809.pdf23KbAdobe PDF2817检视/开启
    55100810.pdf23KbAdobe PDF21212检视/开启


    在政大典藏中所有的数据项都受到原著作权保护.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回馈