西方自從1970年代末期逐漸重視華語電影，國內外影評、輿論經常以「中國電影熱」形容這個現象，本研究將此現象置入歷史文化的脈絡中分析，認為這個現象肇因於當時西方面對封閉而陌生的中國，一種交織過去文化想像、殖民經驗、神秘氛圍、現實需求（戰略考量、廣大的市場）所形塑的心理動機，並展現在許多不同領域，而電影「中國熱」是在此情況下的一個環節。 另一方面，本研究以「中心╱邊陲」的後殖民思考架構，視「中國熱」現象為華語電影走向世界的過程中的四個階段－「重新被發現、新電影運動與西方中級影展、納入主流藝術電影院線、與好萊塢電影工業接軌」。同時，本研究也將進一步探討背後的文化意涵及其所代表的意義。 / Since late 1970s, the Western has gradually put more and more concentration on the Chinese films. The film reviews and the public opinions always regard the phenomenon as the “Chinese Cinema Fever”. This article, on the one hand, analyzes the phenomenon in the historical and cultural veins. While facing China, a state once made the western feel so distant and unfamiliar before, a kind of mentality in the “Western” has been molded by the cultural imagination, colonial experience, mysterious atmosphere, and realistic demand (such like strategic consideration and large-scale market, et al.), and displayed in the various fields. Meanwhile, the “Chinese Cinema Fever” is being a part in such complicated situation. On the other hand, the phenomenon, the Chinese Cinema Fever in the Western Film Festivals since late 1970s, will be considered under the framework of “Center-Periphery” and be regarded as a process of the Chinese film toward the world, which is composed of re-discovering, re-emphasizing, including into the mainstream in the system of the Art Theatre. Nowadays, the Chinese films have turned into a part of the worldwide culture and universal consumption. At the same time, I would like to go a step further to discuss the cultural meanings behind the appearance.

華語電影作為一種真實的教學材料，提供了自然的華語語言資源，並且能夠增強學習者動機與教學成效，然而過去關於此議題的論文研究大多缺乏實際教學驗證，故本篇論文的目的在於，針對中高級華語學習者，以華語電影進行教學設計，並進行教學實施，探究如何應用電影使學生提升聽說能力。本研究採用發展研究法以及調查研究法，結合理論探討與實際狀況分析，發展出符合本研究教學目標之課程設計。首先從兩大方面綜觀過去的研究，一為影片教學的相關理論，指出影片教學之立論與特色，並歸納影片應用於語言教學中的優勢，再探究其應用於教學中的設計理論與教學模式。第二部份則探究電影應用於華語教學上的成果，統整出教學特點、選擇電影的原則以及教學流程等重點。接著，基於以上研究基礎，以ARCS動機理論與ASSURE教學模式為本研究教學架構設計與實踐步驟之參考，設計電影教學課程與活動。課程實施後，以問卷與訪談方式調查課程實施成效、了解學習者的評估與反饋，並結合研究者自身觀察紀錄進行分析與討論。本研究教學實施普遍獲得學習者肯定，認為課程設計符合其學習興趣：學習口語詞彙與表達以及提升聽說能力，兼具實用性與趣味性。根據本研究教學實施，得出幾項研究成果：一、課程設計發展模式 二、教學目標訂定之依據 三、教學實施與驗證。最後，綜合討論成果，作為未來相關教學研究之參考與建議。 / The purpose of the study is to design and implement a Chinese Language curriculum with the use of Chinese films to high-intermediate level students, with the primary gaol of enhancing students’ listening and speaking skills whilist also increasing Chinese colloquial knowledge. The main method used in this paper is known as development research. It provides a model for instructional design; questionnaires and interview research are also adopted for gathering students’ reviews following the proposed teaching implementations. The emphasis of this study lies in examing the model for developing instructional design in teaching via Chinese films by implementing two teaching demonstrations and providing criteria for setting teaching objectives. The results of the two teaching implementations indicate that Chinese movies are valuable and practical teaching materials in spoken Chinese and it is important to incorporate the teaching activities in sequence into the class. Moreover, students’ enjoy the interesting and productive learning evironment. The study findings may serve as a reference for further research on relative Chinese teaching curriculum design.

本論文主要是對一九九○年代過後所攝製的七部敘事背景有關中國文化大革命（簡稱文革）的電影進行分析，探討這些電影裡頭對中國文革的刻畫，更試著勾勒出這些文革的再現與當代中國的文化情境的關聯性。中國自文革後一九八○年代以來，它的文化情境已經產生了頗多變化。這些文化情境，筆者主要是分成三個階段或者部份來闡述。首先是文革過後「新時期」的「文化反思」和「歷史反思」思潮。第二階段是一九九○年代中國高速邁進全球化和市場經濟化的「後新時期」。最後筆者試圖將討論放在邁入兩千年新世紀中國在政治和經濟上崛起的脈絡上。 筆者發現，由三位「第五代」導演田壯壯、陳凱歌和張藝謀所執導的的《藍風箏》、《霸王別姬》和《活著》，其實是受一九八○年代「文化反思」和「歷史反思」的影響，再加上這三位導演年輕時期的生活曾籠罩在文革時候的革命話語中，使到他們的作品散發出濃厚的「文化反思」和「歷史反思」意識。在這些作品中，中國的歷史尤其是文革，成為了他們反思中國民族文化的梏結的寓言敘事策略，更成為了他們尋求為民族國家的文化、政治與經濟上的定位的言說工具。這些在電影中所描繪的個人經歷，都被投射在集體民族的經歷中，折射出對民族集體歷史命運的反思和批判，所呼喚的是一種對社會拯救的理想，一種為國家民族建立一個嶄新文化主體的實踐。 然而，筆者卻發現，另外三部電影，即《陽光燦爛的日子》、《巴爾札克與小裁縫》以及《美人草》卻遠離一九七○、八○年代中國「新時期」「文化反思」和「歷史反思」思潮下的「啟蒙」、「救贖」等的人道傳統話語。這三部電影並沒有呈現出文革的殘酷的一面，反而注重在年輕主人公們朝氣勃勃，充滿激情奔放的青春成長經歷上。同時，《陽光燦爛的日子》通過刻畫人類記憶的建構性和不確定性，來表示我們無法通過記憶來重構一種「絕對的」和「整體的」的文革歷史圖像。而這種現象，是一九九○年代大眾文化在中國的出現與消費社會的成形不無關係。 本論文的最後一個部份，是針對《太陽照常升起》進行分析。筆者發現，這部電影是在「國族寓言」與「反國族寓言」的元素中滑動。首先，它通過絢爛艷麗色彩的攝影，再加上獨特的場面調度，把它的時空背景處理得充滿夢幻色彩，更創造了一個如夢如幻的文革時代。其次，這部電影也通過對文革樣板戲中的女性形象的戲仿，搗毀了女性扮演「國族寓言」的文化角色。然而，這部電影裡頭卻增添了從國外回歸「祖國」的兩個華僑角色。他們在文革時候的遭遇，卻又可以化身為寓意中國現今處境的國族寓言，而這國族寓言跟一九八○年代的文化反思和歷史反思思潮下的國族寓言以及第五代導演的寓言策略有所不同。這部電影中的國族寓言所寓意的，更是和二十一世紀的中國在全球政治和經濟上的崛起有關。而中國在政治經濟上的崛起，卻又和「大中華」的文化認同息息相關。 / This essay focus on analyzing the portraits of China’s Cultural Revolution in seven Chinese Language films made during and after the 1990s. This essay points out that three films made by the “fifth generation” directors namely Blue Kite, Farewell My Concubine and To Live, tend to treat the history of Cultural Revolution as a “national allegory”. These “fifth generation” directors are trying to articulate their narrations of Cultural Revolution to the “cultural reflection” ideological trend of the New Era in the late 1970s and 1980s which searched for the “enlightenment” and “salvation” for the Chinese culture. But this essay also points out that the other three films namely In the Heat of the Sun, Balzac Et La Petite Tailleuse Chinoise and The Foliage, didn’t display the harsher aspects of the Cultural Revolution. Instead they focus on the vigorous and enthusiastic adolescence life of the young protagonists. In the Heat of the Sun also displays the construction and the uncertainty of the human memory, to express that we can’t recapture an “absolute” and a “total” historical image of Cultural Revolution. The portraits of Cultural Revolution in these three films also distance themselves away from the “enlightenment” and “salvation” cultural discourse during the New Era in the late 1970s and 1980s. Lastly, this essay focuses on the film The Sun Also Rises directed by China’s famous actor-cum-director JIANG Wen. This film slides between elements of “national allegory” and “anti-national allegory” for China. Firstly, this film through its brightly colorful cinematography and unique mise en scene, created a film space that is full of fantasy and a dreamlike historical events of Cultural Revolution. Secondly, this film through its parody of the revolutionary model theater of women images, destroys the role of the women in performing the national allegory. But this film added two characters of overseas Chinese returned to China. Their unpleasant experiences during the time of Cultural Revolution can be read as the national allegory of China. Lastly, this film through its unique narrative structure put the ethnic consciousness of “Chineseness” and the concept of “Greater China” into a process of continuing deconstruction and reconstruction.

「溝通」為語言學習的主要目的，如何能使中級華語學習者自然流暢地表達個人觀點並更貼近母語人士的語言習慣是本研究所探討的議題。研究顯示「電影」應用於第二語言教材可以幫助學習者提升溝通能力，更可持續激發語言學習的興趣。然而台灣目前使用電影主要以文化課程輔助進行，尚未規劃專門的電影華語課程，且普遍以成人為主教學對象。 因此本文主要探討如何應用華語電影於青少年華語課程，並分析華語電影教材的學習成效。本研究採用文獻回顧探究電影教學相關研究、中英教學中的電影教學發展、青少年華語教學、教學法與教學模式，以第二章節作為理論架構，依據此架構設計電影華語課程並實際執行。研究結果顯示使用溝通式教學法所延伸的教學活動，同時搭配ADDIE教學模式能有效地將電影教材應用於華語課程中，不僅符合學習者的學習需求，更使教學更具系統性。研究者依電影主題歸納成11種類型，針對青少年學習者選取「愛情類」、「勵志類」類型，以此兩種主題作為框架列舉出20部適合用於華語課程的電影，另外參考電影作為第二語言教材的標準，制定5項華語電影選取原則提供教學者參考。回饋結果顯示，學習者認為電影華語課程能提升聽、說能力，其次為閱讀能力，最後為寫作能力。整體而言，青少年學習者對於電影運用於語言課程中抱持正面的看法，大部分的學習者表示喜愛電影主題和課程中所討論的話題，透過課程中不斷地問答和多元的任務練習活動，學習者溝通時能以自然的表達方式和他人交流想法，並以尊重、包容和分享的情懷欣賞跨文化的議題。最後，研究者於文末提供未來電影華語教學之研究建議。 / Communication is the main purpose of language learning. This research is concerned about how to assist intermediate-level learners in expressing fluently and using the language according to the native speaker's habits. Research shows that using “ Film” can help to improve the communicative ability of the learners, which can also trigger more interest in language learning. However, the use of films for teaching Chinese in Taiwan is limited to culture classes of the adult, not planned for specialized classes. Hence, the main purpose of this research is to analyze how to apply Chinese films in adolescent Chinese courses, and the effect of Chinese film courses. The method of this research is based on the literature review in both teaching Chinese and English by using film, teaching Chinese for adolescent, teaching method and teaching model. Through this framework, the author has planned and implemented the lesson on teaching Chinese through Chinese films. The result has shown that using Communicative Language Teaching and ADDIE teaching model at the same time can incorporate film materials into courses more effectively. According to the film genre, the author has classified 11 types of films, analyzed romance and inspiration topic for adolescent learners, listed 20 films through which are suitable for Chinese courses. Besides, this research has drawn up 5 criteria for selecting Chinese films. The result of the survey has shown that listening and speaking ability can be increased after courses, but not much practice on reading and writing ability. Overall, using film as class material receives a very positive feedback from adolescent learners. Most of the learners show their high interest in themes and topics of the courses, learners can share ideas and express themselves naturally with others through diverse tasks in the class. Meanwhile learning to show respect to different cultures in cross-cultural issues. Pedagogical implications and suggestions for further research are included at the end of this thesis.