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1	Women¡¦s Roles in Taiwanese New Cinema: After Twenty Years Chang, Te-Chuan 18 January 2006 (has links) This paper conducts a research on the movies chosen from the genre of ¡§Taiwanese New Cinema,¡¨ including ¡§Ah Fei,¡¨ ¡§Osmanthus Alley,¡¨ ¡§Kuei-mei, a Woman,¡¨ ¡§Somewhere My Love,¡¨ ¡§The Woman of Wrath,¡¨ and ¡§Rouge of the North.¡¨ The results of this research are drawn from the data of the in-depth interviews. The audience, such as script writers and directors, and advocates of women¡¦s movement with high educational background and socio-economic status, are interviewed, and these contents are analyzed. Due to various identities of the interviewees, who are both encoders and decoders, the existent theoretical framework is inadequate to explain the phenomena under research. However, according to Hall¡¦s Encoding/Decoding Theory, another way of interpretation, i.e., the ¡§Suggestive Interpretation,¡¨ has been added. It suggests that the script writers and directors should not be confined to the original framework and that they should take the initiative to provide their own opinions. All the possibilities of decoding can thus be included in a more comprehensive way. The ¡§Tilt Theory¡¨ in the study of marriage relationship assumes that only when the relationship has ups and downs like a tilt, can it last long. The conclusion suggests that modern women in Taiwan should be confident, continuously strive to achieve their goal, not let themselves down and do whatever they want to do, so as to become the master of their own life. Women¡¦s Roles Taiwanese New Cinema Tilt Theory Suggestive Interpretation
2	Cinematic Remapping of the Taiwanese Sense of Self: On the Transitions in Treatments of History and Memory from "The Taiwanese Experience" to "The Taipei Experience" Chang, Ellen Y. January 2012 (has links) No description available. Asian Studies Film Studies Fine Arts History Motion Pictures Taiwanese cinema Taiwanese New Cinema Post Taiwan New Cinema The Taiwanese Experience The Taipei Experience Taiwan Taipei Taiwanese urban cinema history memory historiography national identity postcolonial transnational
3	台灣「新電影」論述形構之歷史分析（1965-2000） / Discursive Formation of the "Taiwanese New Cinema": A Historical Analysis (1965-2000) 張世倫, Chang, Shih-Lun Unknown Date (has links) 本文以藝術社會學觀點出發，將台灣「新電影」視為一藝術「群體」行動所建構之現象，並分析「新電影」之論述形構過程。本文認為「新電影」與60年代後逐漸傳入台灣的西方「藝術」電影典範，以及「作者電影」影評之系譜間，有若干思想及美學觀方面之傳承關係，其次回溯「新電影」現象初期，支持者如何藉由電影論述與策略運用，在與各種敵對勢力之批判論爭中，建構出一套「新電影」論述，以求存續發展。本文並分析「新電影」群體與三種「電影評鑑」機制之間的關係，這包括了「新電影」勢力難以掌握的《金馬獎》、由其主導之《中時晚報電影獎》系譜、以及「新電影」派不斷嘗試接軌的國際「藝術」電影鑑賞機制。分析結果，本文認為「新電影」派由於無法掌握《金馬獎》，便逐漸與其疏離，《中晚電影獎》此一系譜之評鑑機制則並未成功替代《金馬獎》，而「新電影」之藝術正當性來源，則是藉由國際影展策略而達成。「新電影」派之國際影展策略，在90年代與國家機器之外交宣傳目的逐漸契合，政府態度便由80年代的消極轉為積極地藉由「輔導金」、「電影年」、及鼓勵國際影展路線等方式，來收編「新電影」勢力。「新電影」派亦藉「國際路線」漸受官方重視的脈絡，在論述及實踐上逐漸將「新電影」建構為「台灣」電影唯一存在之國際代表（representation），藉由與官方之需求達成某種程度之契合，「新電影」得到80年代以來從未有過之藝術正當性。然而此一策略，在國家機器缺乏對電影發行及映演部門之干預下，使「新電影」逐漸在市場與美學評鑑兩個層次上，與台灣本土之脈絡產生疏離，於此同時，則是若干導演已獲得電影「作者」之地位，具有吸引國際投資之能力，但卻難以與台灣電影工業產生良性聯繫，且有淪為跨國資本「研發」單位的可能。本文在分析過「新電影」派於不同時期之各種論述策略後，最後認為除了形成一股集體力量，對台灣電影工業進行政策面之思考與改造外，「新電影派」目前之論述策略，皆不足以改變目前台灣電影業之困境。台灣新電影電影年金馬獎國際影展藝術社會學藝術電影電影評論電影輔導金 Taiwanese New Cinema The Film Year Golden Horse Award International Film Festival Sociology of Art Art Cinema Film Criticism

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