21世紀以來，中國出現了大量的公路電影，尤其在2010年以後，公路電影不僅收穫了卓越的票房成績，也受到了廣泛的關注。中國公路電影在發展的過程當中，逐漸從對西方公路類型的挪用轉向了建立出屬於中國公路電影獨特的本土特徵，在電影的敘事、意象、人物設置、配樂等方面都表現出了其特別之處。中國的公路電影聚焦社會現實，反映了在中國社會轉型這個特殊時期的社會現實，暴露中國社會的種種現代性問題。本研究將選取《落葉歸根》、《心花路放》、《後會無期》這三個電影文本，使用類型批評、文本分析、符號研究的研究方法，探究在中國的現代化建設和社會轉型當中究竟失落了什麼。 / This study will select Breakup Buddies, The Continent and Getting Home as case studies, and use the genre criticism, textual analysis, semiotic analysis, to explore what has been lost in the social transformation of China's modernization construction. Since the 21st century, especially during the period after 2010, there have been a lot of road movies in China's film industry. Road movie have not only hit remarkable outcome at the box office, but also has received the general attention. During the development of China's road movies, the style gradually changed from duplicating western road movies to establishing distinctive and native characteristics, which reflect on the unique narratives, images, characterization and soundtrack in those movies. China's road movies focus on the society and reflect reality during the special period of social transformation in China, which also expose problems of modernity of Chinese society.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0104464070 |
| Creators | 譚玥 |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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