這是一個影像掛帥的年代，電影取代了文字成為歷史的重要使者，甚至成為所謂詮釋權的主導者。影像可以是歷史的紀錄（紀錄片、新聞影片），也極可能成為意識形態的催化幫凶（例如納粹時期政治宣傳片、世界各國「主旋律」電影），有人以歷史的觀點來解析電影，有人則是以電影的角度來詮釋歷史，影像美學究竟可以如何與歷史研究做出連結？
「比較」是一種最基本的思考與批判，文學如是，電影亦然。從文字到影像，從本土到海外，從台灣到華語再到世界，從政治經濟分析到文本脈絡解讀，從政策、產製到發行策略甚至影展曝光，本課程擬打破傳統國族電影史系統性編年研究方式，透過不同時間、背景、產製脈絡的「泛華語」電影，藉以釐清電影、歷史和文化的複雜關係，進而探討歷史事件的影像建構方式；同時更自我省思，什麼是華語電影？華語電影的定位為何？它在台、港、中之間又有何種聯繫？在全球化合製當道的年代，所謂的華語電影，無論歷史上的、文化上的、美學上的、還是意識形態上的種種意義與存在價值，又是什麼？
這門課程將帶領你們一起尋找解答。採專題方式進行，課程中將播放多部影片片段（或是單一完整影片），搭配推薦書單，進行分析與討論（並藉此加強同學藉由PPT論述表達的能力）。台灣電影與中國、港澳、兼及馬華與泛華語電影互為穿插，透過不同族群華人在不同地域影像的呈現，去思索更大脈絡的真實歷史文化經驗與美學創作之間的複雜關係。期許透過不同影像間的相互辯證，培養學生對於歷史與真實的主體性省思。This is an era where images take the lead. Movies have replaced words and become the important messenger of history, and have even become the leader of the so-called right of interpretation. Images can be records of history (documentaries, newsreels), and they may also become catalytic accomplices of ideology (such as political propaganda films during the Nazi era and "main theme" films from around the world). Some people analyze films from a historical perspective, while others do not Interpreting history from the perspective of film, how can image aesthetics be connected with historical research?
"Comparison" is the most basic kind of thinking and criticism. This is true for literature and the same is true for movies. From words to images, from local to overseas, from Taiwan to Chinese to the world, from political and economic analysis to interpretation of textual context, from policy, production system to distribution strategy and even film festival exposure, this course intends to break the systematic nature of traditional national film history. The chronological research method uses "pan-Chinese" films of different times, backgrounds, and production lines to clarify the complex relationship between film, history, and culture, and then explore the way in which historical events are imaged; at the same time, we also reflect on ourselves about what Chinese is. movie? What is the positioning of Chinese-language films? What kind of connection does it have between Taiwan, Hong Kong and China? In the age of globalization and conglomeration, what are the various historical, cultural, aesthetic, and ideological significances and existential values of so-called Chinese-language films?
This course will lead you together to find the answers. It will be conducted in a thematic manner. During the course, multiple video clips (or a single complete video) will be played, along with a recommended book list, for analysis and discussion (and thereby enhance students' ability to express themselves through PPT discussions). Taiwanese films are interspersed with films from China, Hong Kong, Macao, Malaysia, and Pan-Chinese. Through the presentation of images of Chinese people of different ethnic groups in different regions, we can think about the complex relationship between the larger context of real historical and cultural experience and aesthetic creation. It is hoped that through the mutual dialectic between different images, students can cultivate their subjective reflection on history and reality.
參考書籍：
鄭樹森編。《文化批評與華語電影》。台北：麥田，1995。
Graeme Turner。《電影的社會實踐》。台北：遠流，1997。
盧非易。《台灣電影：政治、經濟、美學（1949-1994）》。台北：遠流，1998。
焦雄屏。《時代顯影--中西電影論述》。台北：遠流，1998。
葉月瑜編。《三地傳奇：華語電影二十年》。台北：電資館，1999。
《新中國電影五十年》。北京：北京廣播學院出版社，2000。
《香港電影八十年》。北京：北京廣播學院出版社，2000。
廖金鳳、卓伯棠、傅葆石、容世誠。《邵氏影視帝國—文化中國的想像》。台北：麥田，2003。
黃建業編。《跨世紀台灣電影實錄（1898-2000）》。台北：電資館，2005。
戴錦華。《性別中國》。台北：麥田，2006。
戴錦華。《霧中風景：中國電影文化1978-1998》。北京：北京大學，2006二版。
歐陽江河編。《中國獨立電影》。香港：Oxford，2007。
鍾寶賢。《香港百年光影》。北京：北京大學出版社，2007。
陳家樂、朱立。《無主之城—香港電影中的九七回歸與港人認同》。香港：天地，2008。
湯禎兆。《香港電影血與骨》。台北：書林，2008。
鄭秉泓。《台灣電影愛與死》。台北：書林，2010。
鄭秉泓。《台灣電影變幻時:尋找台灣魂》。台北：書林，2019。
李幼鸚鵡鵪鶉。《我深愛的雷奈、費里尼及其他》。台北：書林，2013。
彭麗君。《黃昏未晚—後九七香港電影》。香港：香港中文大學，2010。
Benedict Anderson。《想像的共同體》。台北：時報，2010新版。
張美君。《尋找香港電影的獨立景觀》。香港：三聯，2010。
厲震林。《電影的轉身—中國電影的現代化運動及其文化闡釋》。上海：文匯。2010
劉輝、傅葆石編。《香港的「中國」邵氏電影》。香港：OXFORD，2011。
朗天。《香港有我—主體性與香港電影》。香港：文化工房，2013。
史書美。《視覺與認同—跨太平洋華語語系表述．呈現》。台北：聯經，2013。
Reference books:
Edited by Zheng Shusen. "Cultural Criticism and Chinese Film". Taipei: Wheatfield, 1995.
Graeme Turner. "The Social Practice of Film". Taipei: Yuanliu, 1997.
Lu Feiyi. "Taiwanese Cinema: Politics, Economics, Aesthetics (1949-1994)". Taipei: Yuanliu, 1998.
Jiao Xiongping. "The Era: A Discussion of Chinese and Western Films." Taipei: Yuanliu, 1998.
Edited by Ye Yueyu. "Legend of Three Places: Twenty Years of Chinese Cinema." Taipei: Electric Power Equipment Museum, 1999.
"Fifty Years of New Chinese Film". Beijing: Beijing Broadcasting Institute Press, 2000.
"Eighty Years of Hong Kong Film". Beijing: Beijing Broadcasting Institute Press, 2000.
Liao Jinfeng, Zhuo Botang, Fu Baoshi, Rong Shicheng. "Shaw Brothers Film and Television Empire—The Imagination of Cultural China." Taipei: Maitian, 2003.
Edited by Huang Jianye. "Records of Taiwanese Films Across the Century (1898-2000)". Taipei: Electric Power Equipment Museum, 2005.
Dai Jinhua. "Gender China". Taipei: Maitian, 2006.
Dai Jinhua. "Landscape in the Fog: Chinese Film Culture 1978-1998". Beijing: Peking University, 2nd edition 2006.
Edited by Ouyang Jianghe. "Chinese Independent Film". Hong Kong: Oxford, 2007.
Zhong Baoxian. "A Hundred Years of Light and Shadow of Hong Kong". Beijing: Peking University Press, 2007.
Chen Jiale, Zhu Li. "The Masterless City—The Return of 1997 and Hong Kong People's Identity in Hong Kong Films." Hong Kong: Tiandi, 2008.
Tang Zhenzhao. "Hong Kong Film Blood and Bone". Taipei: Shulin, 2008.
Zheng Binghong. "Taiwanese Film Love and Death". Taipei: Shulin, 2010.
Zheng Binghong. "Taiwanese Cinema is Changing: Searching for the Soul of Taiwan." Taipei: Shulin, 2019.
Plum parrot quail. "My Beloved Resnais, Fellini and Others". Taipei: Shulin, 2013.
Peng Lijun. "It's Not Too Late—Post-1997 Hong Kong Movies". Hong Kong: The Chinese University of Hong Kong, 2010.
Benedict Anderson. "Imagined Communities". Taipei: The Times, 2010 new edition.
Zhang Meijun. "Searching for the Independent Landscape of Hong Kong Film". Hong Kong: Sanlian, 2010.
Li Zhenlin. "The Turn of Film—The Modernization Movement of Chinese Film and Its Cultural Interpretation". Shanghai: Wenhui. 2010
Compiled by Liu Hui and Fu Baoshi. "Hong Kong's "Chinese" Shaw Brothers Films." Hong Kong: OXFORD, 2011.
Bright sky. "Hong Kong Has Me—Subjectivity and Hong Kong Films." Hong Kong: Cultural Studio, 2013.
Beautiful history. "Visuality and Identity - Transpacific Sinophone Representations." Present”. Taipei: Lianjing, 2013.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 團體PPT期中口頭報告團體PPT期中口頭報告 Group PPT midterm oral report |
40 | |
| 個人兩份紙本期末作業個人兩份紙本期末作業 Two personal final assignments on paper |
50 | |
| 課堂表現課堂表現 Classroom performance |
10 |
