English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 111200/142120 (78%)
Visitors : 48097091      Online Users : 729
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    政大機構典藏 > 學術期刊 > 文化越界  > 期刊論文 >  Item 140.119/100660
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/100660


    Title: 暴力的慾望反撥:日本與台灣的黑幫電影中的抵抗意識
    Other Titles: Repulsion of Violent Desires: Resistant Consciousness in Mafia Films in Japan and Taiwan
    Authors: 張藝鐘
    Chang, I-Chung
    Keywords: 黑幫電影;東映;社會寫實片;小對件
    Mafia movies;Toei;Social Realist Films;object petit à
    Date: 2012-09
    Issue Date: 2016-08-23 17:49:38 (UTC+8)
    Abstract: 本論文以70~80年代風行於日本與台灣的黑幫電影為中心,分析電影內部的暴力慾望與其所指涉的時代意義。論文首先回溯兩地的黑幫片產生的時代背景,再以兩部作品:《仁義的墓場》與《女性的復仇》中個體對群體的抵抗意識來反思黑幫電影反撥的暴力。\\r 日本東映70年代的《無仁義的戰爭》系列將背景拉到了戰後的日本,刺激的內容很呼應日本自安保鬥爭以來社會動蕩不安的氛圍。 台灣社會寫實電影也搭上了本地美麗島事件的順風車,加上眾多性感女星的加入,使黑幫電影脫離了社會寫實而進入了類似西方B級片的路線。 這些電影雖都稱不上學術殿堂內所認可的好電影,但透過拉崗精神分析主體對小對件的分析後發現,唯有這樣反抗時代的暴力反撥不斷持續,維繫主體的正當性才能一直被確立。
    This paper aims to deal with repulsive desire for violence in mafia films in Japan and Taiwan. This paper also examines the significance of the films in their contexts when the films were produced. Starting by elaborating on their backgrounds, two films, The Grave of Jingi (1975) and The Women’s Revenge (1980) will be analyzed by narratology and Lacanian psychoanalysis. Toei company in Japan initiated the War without Jingi series in post-war Japan. The radical contents of the films congruously correspond to the fervent atmosphere in the Anti-Anpo Protest era. So-called Social Realist Films in Taiwan manifest the same situation. Most of these films were made in the early years in Taiwan’s democratic movement. But with many sexy stars’ participation and involvement, this genre transforms itself to mimic B films in the west. These films are never great films, but with a Lacanian approach to the object petit à, it is clear that repulsive violence in the mafia films in fact sustains and perpetuates the legitimacy of the subject (characters in films and the audience alike) consciousness living justifiably without moral misdemeanor.
    Relation: 文化越界,1(8),133-156
    Cross-cultural Studies
    Data Type: article
    Appears in Collections:[文化越界 ] 期刊論文

    Files in This Item:

    File SizeFormat
    1(8)p133-156.pdf637KbAdobe PDF2522View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    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 ©   - Feedback