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    Title: 探討阿莫多瓦的《高跟鞋》、《我的母親》、 《玩美女人》中之母親形象
    A Study of the Images of Mothers in Almodóvar's High Heels (Tacones lejanos, 1991), All about My Mother (Todo sobre mi madre, 1999) and Volver (Volver, 2006).
    Authors: 吳詩汝
    Wu, Shih Ju
    Contributors: 楊瓊瑩
    Yang, Chung Ying
    吳詩汝
    Wu, Shih Ju
    Keywords: 阿莫多瓦
    母親形象
    高跟鞋
    我的母親
    玩美女人
    Almodóvar
    Mother Figure
    High Heels
    All about my Mother
    Volver
    Date: 2012
    Issue Date: 2013-02-01 16:51:44 (UTC+8)
    Abstract: 西班牙導演阿莫多瓦(Pedro Almodóvar, 1947-)崛起於後佛朗哥時期,是「馬德里新潮運動」中,自由創作、龐克精神的代表人物之一。阿莫多瓦的創作議題多以性別、情慾、自由為主,擅長融合類型電影與大眾文化,是當代西班牙文化研究的熱門題材之一。阿莫多瓦兼具顛覆性與通俗性的作品,始終以女性為焦點,其創作脈絡中,母親角色為不可或缺的元素。

    阿莫多瓦的三部電影《高跟鞋》(Tacones lejanos, 1991)、《我的母親》(Todo sobre mi madre, 1999)與《玩美女人》(Volver, 2006),是以「母親」為核心議題的代表作。《高跟鞋》以母女關係為主題,探討追求個人成就、背離母職的母親與具有戀母情結的女兒之間的關係。《我的母親》以犧牲奉獻的慈母為主題。《玩美女人》則是由堅毅的家庭主婦的觀點,來探討母親與死亡的主題。

    本論文旨在分析上述三部電影,探討阿莫多瓦建構的母親形象。以電影分析理論探討導演如何藉由電影敘事形式及融合電影類型、場面調度、套層密藏等電影形式與風格,來呈現母親角色。進一步透過女性主義及精神分析中戀母情結理論的內涵意義,探討三部影片中母親角色的形象。阿莫多瓦在三部電影中呈現不同的母親形象,不論是背離母職的母親、犧牲奉獻的單親媽媽,或平凡的家庭主婦,都具有西班牙傳統母親形象。他更進一步提出多元家庭的概念,跳脫生理母親的性別框架,將母愛昇華為一種人道關懷。
    Spanish director Pedro Almodóvar (1947~ ) sprang up in the post Franco dictatorship. He is one of the representatives of freelance and punk spirit in the movement la movida madrileña. Almodóvar's films are of great popularity in the contemporary Spanish cultural studies. Sex, lust and freedom are the major themes in his films. He is also an expert in fusing various film genres and popular cultures into his movies. Almodóvar is known as a woman's director, who has consistently placed female characters centre of his films. May it be the theme or the supporting role of the film, the maternal role in his films has always been a crucial element.

    Three films of Almodóvar's masterpieces, including High Heels (Tacones lejanos, 1991), All about my Mother (Todo sobre mi madre, 1999) and Volver (Volver, 2006) are discussed in this thesis. Almodóvar crafted mother as the central character and motherhood the core issue. High Heels explores the relationship between a selfish mother and her daughter with Oedipus complex. All about my Mother centers on the sacrifice and devotion of a single mother who looks for the missing father of her dead son. Volver deals with two issues: mother and death, from the view of a determined housewife.

    The thesis aims to analyze how Almodóvar renders the role of a mother in the three films mentioned above from different film forms, mixed genres, mise en scene and mise en abyme. Moreover, this thesis is devoted to examining the maternal figure by applying the psychoanalytic and feminist theories on motherhood. The images of mother presented in these Almodóvar's movies, whether they are a mother who deviates from motherhood, a devoted, self-sacrificing single mother, or an ordinary housewife, are all characteristic of the images of traditional Spanish mothers. Almodóvar further proposes the multi-family concept which breaks through the physiological gender constraints of being a mother, and within this concept, the maternal love turns into care and concern for all humanity.
    Reference: 一、影片
    Tacones lejanos. Dir. Pedro Almodóvar. Paramount, 1991.
    Todo sobre mi madre. Dir. Pedro Almodóvar. Columbia Tristar, 1999.
    《玩美女人》(Volver)。導演:阿莫多瓦(Pedro Almodóvar)。迪昇數位影視總代理,2007。

    二、外文部份
    1.專書
    Acevedo-Muñoz, Ernesto R. Pedro Almodóvar. London: British Film Institute, 2007.
    Allinson, Mark. A Spanish Labyrinth: The Films of Pedro Almodóvar. London: I.B. Tauris, 2001.
    Chodorow, Nancy. The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender. Berkeley: U of California P, 1978.
    Colmenero Salgado, Silvia. Todo sobre mi madre: Pedro Almodóvar. Barcelona: Paidós, 2001.
    Coward, Rosalind. Female Desires: How They Are Sought, Bought and Packaged. New York: Grove P, 1985.
    D'Lugo, Marvin. Pedro Almodóvar. Urbana: U of Illinois P, 2006.
    Doane, Mary Ann. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991.
    Evans, Peter William, ed. Spanish Cinema: The Auteurist Tradition. Oxford: Oxford UP, 1999.
    Firestone, Shulamith. The Dialectic of Sex; the Case for Feminist Revolution. New York: Bantam Books, 1972.
    Graham, Helen and Jo Labanyi, eds. Spanish Cultural Studies: An Introduction. Oxford: Oxford UP, 1995.
    Herrera, Javier and Cristina-Martínez Carazo, eds. Hispanismo y Cine. Madrid: Iberoamericana, 2007.
    Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York and London: Routledge, 1988.
    Jameson, Fredric. Postmodernism or The Cultural Logic of Late Capitalism. Durham, NC: Duke UP, 1991.
    Jordan, Barry and Rikki Morgan-Tamosunas, ed. Contemporary Spanish Cultural Studies. London: Arnold, 2000.
    ---. Contemporary Spanish Cinema. Manchester; New York: Manchester UP, 1998.
    Kaplan, E. Ann, ed. Women in Film Noir. London: British Film Institute, 1998.
    Labanyi, Jo, ed. Constructing Identity in Contemporary Spain: Theoretical Debates and Cultural Practice. Oxford; New York: Oxford UP, 2002.
    Rich, Adrienne. Of Women Born: Motherhood as Experience and Institution. New York: Norton, 1986.
    Smith, Paul Julian. Desire Unlimited: The Cinema of Pedro Almodóvar. London; New York: Verso, 2000.
    Triana Toribio, Núria. Spanish National Cinema. London; New York: Routledge, 2003.
    Willoquet-Maricondi, Paula, ed. Pedro Almodóvar: Interviews. Jackson: UP of Mississippi, 2004.

    2.期刊/ 專書篇章
    Cadalso, Isabel. “Pedro Almodóvar: A Spanish Perspective.” Cineaste 18.1, (1990): 36.
    Camino, Mercedes. “’Vivir sin tí’: Motherhood, Melodrama and españolada in Pedro Almodóvar’s Todo sobre mi madre (1999) and Volver (2006).” Bulletin of Spanish Studies 87.5 (2010): 625-642.
    Corbalán, Ana. “Dificultad ante una alternativa familiar en Todo sobre mi madre de Almodóvar: ¿Subversión o regresión?” The Colorado Review of Hispanic Studies 6, Fall (2008): 149-166.
    D'Lugo, Marvin. “Volver o La contra-memoria.” Secuencias: Revista de Historia de Cine 28 (2008), 77-93.
    Donapetry, María. “Cinematernidad.” La mujer en la España actual: ¿Evolución o involución? Ed. Jacqueline Cruz, Barbara Zecchi. Barcelona: Icaria Editorial, 2004. 373-394.
    Dovolis, Petros. “Specters, Memory and the Politics of Culture: Encountering Ghosts in William Shakespeare's Hamlet and Pedro Almodóvar's Volver.” NTU Studies in Language and Literature 24, (2010): 25-47.
    Holland, Jonathan. “Pedro Reigns in Spain: Almodóvar Still Considered An Icon.” Variety 370.10, (1998): 39.
    Kinder, Marsha. “Pleasure and the New Spanish Mentality: A Conversation with Pedro Almodóvar.” Film Quarterly 41.1 (1987): 33-44.
    ---. “From Matricide to Mother Love in Almodóvar’s High Heels.” Post-Franco, Postmodern: the Films of Pedro Almodóvar. Ed. Kathleen M. Vernon and Barbara Morris. Westport, Conn.: Greenwood P, 1995. 145-153.
    ---. “Volver.” Film Quarterly 60.3 (2007): 4-9.
    Maddison, Stephen. “All about Women: Pedro Almodóvar and The Heterosocial Dynamic.” Textual Practice 14.2 (2000): 265-84.
    Marcantonio, Carla. “Volver.” Cineaste 31.4 (2006): 77-79.
    Martin-Márquez, Susan. “Pedro Almodóvar’s Maternal Transplants: From Matador to All About My Mother.” Bulletin of Hispanic Studies 81.4 (2004): 497-509.
    Matthews, Peter. “Lost in La Mancha.” Sight & Sound 16.9 (2006): 42-43.
    Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16.3 (1975): 6-18.
    Oppenheimer, Jean. “Family Secrets.” American Cinematographer 87.12 (2006): 32, 34, 36, 38.
    Smith, Paul Julian. “Women, Windmills and Wedge Heels.” Sight & Sound 16.6 (2006): 16-18.
    Sofair, Michael. “Review of All about My Mother.” Film Quarterly 55.2 (2001): 40-47.
    Triana Toribio, Núria. “A Punk Called Pedro: La Movida in the Films of Pedro Almodóvar.” Contemporary Spanish Cultural Studies. Ed. Barry Jordan and Rikki Morgan-Tamosunas, London: Arnold, 2000. 274-282.
    Yang, Chung-Ying. “Cuerpo, in/comunicación y representación en Hable con ella de Pedro Almodóvar.” Tamkang Journal of Humanities and Social Sciences (《淡江人文社會學刊》) 32 (2007): 91-105.

    3.網路資源
    Almodóvar, Pedro. “El último sueño.” El País. Sep 14 1999. < http://www.elpais.com/archivo/buscando.html >
    “Pedro Almodóvar: I'm not to blame for UK tastes” Guardian June 24 2008. < http://www.guardian.co.uk/film/2008/jun/24/features.culture >
    Pedro Almodóvar Página Oficial <http://www.clubcultura.com/clubcine/clubcineastas/almodovar/esp/home.htm>
    Radpay, Daniela, “The “Evolution” of the Role of the Woman from La Perfecta Casada to Desenganos Amorosos” (2006). University Honors Program. Paper 32. https://digital.library.txstate.edu/handle/10877/3211
    Smith, Paul Julian. “The Curse of Almodóvar” Guardian June 17 2008. < http://www.guardian.co.uk/film/2008/jun/17/worldmusic.pedroalmodovar>

    三、中文部份
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    艾曉明、宋素鳳、馮芃芃等譯,Sue Thornham著。《激情的疏離:女性主義電影理論導論》。桂林市:廣西師範大學出版社,2007。
    吳珮慈譯,Jacques Aumont著。《當代電影分析方法論》。臺北市:遠流,1996。
    吳珮慈。《在電影思考的年代》。臺北市:書林,2007。
    李臺芳。《女性電影理論》。臺北市:揚智,1996。
    李顯立譯,Tim Bywater, Thomas Sobchack著。《電影批評面面觀》。臺北市:遠流,1997。
    卓忠宏。《西班牙與歐洲聯盟》。臺北市:揚智文化,2005。
    林文淇譯,Graeme Turner著。《電影的社會實踐》。臺北市:遠流,1997。
    林文淇譯,Kathryn Woodward編。《認同與差異》。臺北縣永和市:韋伯文化國際,2006。
    林芳玫等合著,顧燕翎主編。《女性主義理論與流派》。臺北市:女書文化:1996。
    邱誌勇、許夢芸譯,Jeff Lewis著。《細說文化研究基礎》。臺北縣永和市:韋伯文化國際,2008。
    俞彥娟。〈女性主義對母親角色研究的影響〉,《女學學誌:婦女與性別研究》,20 (2005): 1-40。
    張小虹。《後現代/女人:權力、慾望與性別表演》。臺北市:時報文化,1993。
    張小虹。《怪胎家庭羅曼史》。臺北市:時報文化,2000。
    張君玫譯,Nancy Chodorow著。《母職的再生產:心理分析與性別社會學》。臺北市:群學,2003。
    張秋。《不准調頭:世界電影大師的救贖之旅》。上海:東方出版中心,2007。
    張國慶。《邊緣辯證:電影、文學與文化評論》。臺北市:書林,1998。
    陳芸芸譯,Jill Nelmes編著。《電影學入門》。臺北:韋伯文化國際,2006。
    陳眾議。《西班牙文學-黃金世紀研究》。南京:譯林,2007。
    陳儒修、郭幼龍譯,Robert Stam著。《電影理論解讀》(Film Theory: an Introduction)。臺北市:遠流,2002。
    傅郁辰、謝強譯,Frédéric Strauss著。《欲望電影:阿爾莫多瓦談電影》。北京:人民文學出版社,2007。
    曾柏仁。《因為導演,所以電影》。臺北市:揚智,2000。
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    Description: 碩士
    國立政治大學
    歐洲語文學程碩士在職專班(MPES)
    95952001
    101
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0095952001
    Data Type: thesis
    Appears in Collections:[歐洲語文學系] 學位論文

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