影像外的敘事策略 : 校園民歌與政宣電影: Beyond visual narration : college folk songs and policy films

Research output: Journal PublicationsJournal Article (refereed)

Abstract

流行音樂與電影曾是兩個最緊密配合的傳媒,協助臺灣政府在戰後建構國家認同及國族身份。本論文所探討的議題為:此兩項關係密切的傳媒在建構-現代、反共、儒教的中國認同時,所扮演的角色為何?媒體如何運用其特質來呈現-牢不可破的國家身份?而歷史環境和社會政治變遷又如何重整國族身份的內觀外貌?此外,電影作者又如何運用電影音樂、電影類型及電影風格來進行影像外的政治敘事?為逐一回答這些問題,本文設定以八十年代初期政宣片(《龍的傳人》),健康寫實主義電影(《早安,臺北》),及七十年代的校園民歌運動,來研究流行音樂與電影之互動的演變。分析得知,電影與流行音樂的關係是呈循環的持續狀態;同時,由於中國身份的被質疑,認同政治成為流行音樂重要的主題,在新音樂中不斷以不同的曲式和語言呈現修正型之中國民族主義。於此,在意識型態的轉移和文化商品機制的土等下,形成的國族認同,包含商業、政治與藝術的交互運作。 Popular music and film were the two media most engaged in assisting the state to construct national identity in postwar Taiwan. What role did they play in creating a modern, anti-communist, and Confucian-oriented Chinese identity? How did the media use their specific characteristics to represent an unequivocal Chinese identity? How did historical environments and sociopolitical changes reformulate the makeup of this national identity? How did film directors use film music, genre, and style to respond to the changes? In order to answer these questions, this study examines the relationship between the college folk movement of the 1970s and policy films (Land of the Brave, 1981) and health realist films (Good Morning, Taipei, 1980) of the early 1980s. The analysis shows that identity politics occupied a central role in college folk music and popular cinema, due to the late 1970s' collapse of the concept of nationalism based on a unified Chuina. The combination of this ideological shift and the introduction of advanced cultural commodity apparatuses forms a national identity characterized by shifting loci of commnerce, politics and art.
Original languageChinese (Traditional)
Pages (from-to)41-65
Number of pages25
Journal新聞學研究
Issue number59
Publication statusPublished - 1 Apr 1999

Bibliographical note

本文曾發表於視覺傳播藝術學會及中國電影史料研究會於1995年9月在台北舉行的「海峽兩岸暨香港電影發展與文化變遷研討會」。

Keywords

  • College Folk
  • Film Music
  • Health Realism
  • Nativism
  • Policy Film
  • Revised Nationalism
  • 修正民族主義
  • 健康寫實主義電影
  • 政宣電影
  • 本土主義
  • 校園民歌
  • 電影音樂

Cite this

@article{b2ddfdd5c1e94fcaa43557017b5169f8,
title = "影像外的敘事策略 : 校園民歌與政宣電影: Beyond visual narration : college folk songs and policy films",
abstract = "流行音樂與電影曾是兩個最緊密配合的傳媒,協助臺灣政府在戰後建構國家認同及國族身份。本論文所探討的議題為:此兩項關係密切的傳媒在建構-現代、反共、儒教的中國認同時,所扮演的角色為何?媒體如何運用其特質來呈現-牢不可破的國家身份?而歷史環境和社會政治變遷又如何重整國族身份的內觀外貌?此外,電影作者又如何運用電影音樂、電影類型及電影風格來進行影像外的政治敘事?為逐一回答這些問題,本文設定以八十年代初期政宣片(《龍的傳人》),健康寫實主義電影(《早安,臺北》),及七十年代的校園民歌運動,來研究流行音樂與電影之互動的演變。分析得知,電影與流行音樂的關係是呈循環的持續狀態;同時,由於中國身份的被質疑,認同政治成為流行音樂重要的主題,在新音樂中不斷以不同的曲式和語言呈現修正型之中國民族主義。於此,在意識型態的轉移和文化商品機制的土等下,形成的國族認同,包含商業、政治與藝術的交互運作。 Popular music and film were the two media most engaged in assisting the state to construct national identity in postwar Taiwan. What role did they play in creating a modern, anti-communist, and Confucian-oriented Chinese identity? How did the media use their specific characteristics to represent an unequivocal Chinese identity? How did historical environments and sociopolitical changes reformulate the makeup of this national identity? How did film directors use film music, genre, and style to respond to the changes? In order to answer these questions, this study examines the relationship between the college folk movement of the 1970s and policy films (Land of the Brave, 1981) and health realist films (Good Morning, Taipei, 1980) of the early 1980s. The analysis shows that identity politics occupied a central role in college folk music and popular cinema, due to the late 1970s' collapse of the concept of nationalism based on a unified Chuina. The combination of this ideological shift and the introduction of advanced cultural commodity apparatuses forms a national identity characterized by shifting loci of commnerce, politics and art.",
keywords = "College Folk, Film Music, Health Realism, Nativism, Policy Film, Revised Nationalism, 修正民族主義, 健康寫實主義電影, 政宣電影, 本土主義, 校園民歌, 電影音樂",
author = "葉月瑜",
note = "本文曾發表於視覺傳播藝術學會及中國電影史料研究會於1995年9月在台北舉行的「海峽兩岸暨香港電影發展與文化變遷研討會」。",
year = "1999",
month = "4",
day = "1",
language = "Chinese (Traditional)",
pages = "41--65",
journal = "Mass Communication Research",
issn = "1016-1007",
publisher = "National Chengchi University",
number = "59",

}

影像外的敘事策略 : 校園民歌與政宣電影 : Beyond visual narration : college folk songs and policy films. / 葉月瑜.

In: 新聞學研究, No. 59, 01.04.1999, p. 41-65.

Research output: Journal PublicationsJournal Article (refereed)

TY - JOUR

T1 - 影像外的敘事策略 : 校園民歌與政宣電影

T2 - Beyond visual narration : college folk songs and policy films

AU - 葉月瑜, null

N1 - 本文曾發表於視覺傳播藝術學會及中國電影史料研究會於1995年9月在台北舉行的「海峽兩岸暨香港電影發展與文化變遷研討會」。

PY - 1999/4/1

Y1 - 1999/4/1

N2 - 流行音樂與電影曾是兩個最緊密配合的傳媒,協助臺灣政府在戰後建構國家認同及國族身份。本論文所探討的議題為:此兩項關係密切的傳媒在建構-現代、反共、儒教的中國認同時,所扮演的角色為何?媒體如何運用其特質來呈現-牢不可破的國家身份?而歷史環境和社會政治變遷又如何重整國族身份的內觀外貌?此外,電影作者又如何運用電影音樂、電影類型及電影風格來進行影像外的政治敘事?為逐一回答這些問題,本文設定以八十年代初期政宣片(《龍的傳人》),健康寫實主義電影(《早安,臺北》),及七十年代的校園民歌運動,來研究流行音樂與電影之互動的演變。分析得知,電影與流行音樂的關係是呈循環的持續狀態;同時,由於中國身份的被質疑,認同政治成為流行音樂重要的主題,在新音樂中不斷以不同的曲式和語言呈現修正型之中國民族主義。於此,在意識型態的轉移和文化商品機制的土等下,形成的國族認同,包含商業、政治與藝術的交互運作。 Popular music and film were the two media most engaged in assisting the state to construct national identity in postwar Taiwan. What role did they play in creating a modern, anti-communist, and Confucian-oriented Chinese identity? How did the media use their specific characteristics to represent an unequivocal Chinese identity? How did historical environments and sociopolitical changes reformulate the makeup of this national identity? How did film directors use film music, genre, and style to respond to the changes? In order to answer these questions, this study examines the relationship between the college folk movement of the 1970s and policy films (Land of the Brave, 1981) and health realist films (Good Morning, Taipei, 1980) of the early 1980s. The analysis shows that identity politics occupied a central role in college folk music and popular cinema, due to the late 1970s' collapse of the concept of nationalism based on a unified Chuina. The combination of this ideological shift and the introduction of advanced cultural commodity apparatuses forms a national identity characterized by shifting loci of commnerce, politics and art.

AB - 流行音樂與電影曾是兩個最緊密配合的傳媒,協助臺灣政府在戰後建構國家認同及國族身份。本論文所探討的議題為:此兩項關係密切的傳媒在建構-現代、反共、儒教的中國認同時,所扮演的角色為何?媒體如何運用其特質來呈現-牢不可破的國家身份?而歷史環境和社會政治變遷又如何重整國族身份的內觀外貌?此外,電影作者又如何運用電影音樂、電影類型及電影風格來進行影像外的政治敘事?為逐一回答這些問題,本文設定以八十年代初期政宣片(《龍的傳人》),健康寫實主義電影(《早安,臺北》),及七十年代的校園民歌運動,來研究流行音樂與電影之互動的演變。分析得知,電影與流行音樂的關係是呈循環的持續狀態;同時,由於中國身份的被質疑,認同政治成為流行音樂重要的主題,在新音樂中不斷以不同的曲式和語言呈現修正型之中國民族主義。於此,在意識型態的轉移和文化商品機制的土等下,形成的國族認同,包含商業、政治與藝術的交互運作。 Popular music and film were the two media most engaged in assisting the state to construct national identity in postwar Taiwan. What role did they play in creating a modern, anti-communist, and Confucian-oriented Chinese identity? How did the media use their specific characteristics to represent an unequivocal Chinese identity? How did historical environments and sociopolitical changes reformulate the makeup of this national identity? How did film directors use film music, genre, and style to respond to the changes? In order to answer these questions, this study examines the relationship between the college folk movement of the 1970s and policy films (Land of the Brave, 1981) and health realist films (Good Morning, Taipei, 1980) of the early 1980s. The analysis shows that identity politics occupied a central role in college folk music and popular cinema, due to the late 1970s' collapse of the concept of nationalism based on a unified Chuina. The combination of this ideological shift and the introduction of advanced cultural commodity apparatuses forms a national identity characterized by shifting loci of commnerce, politics and art.

KW - College Folk

KW - Film Music

KW - Health Realism

KW - Nativism

KW - Policy Film

KW - Revised Nationalism

KW - 修正民族主義

KW - 健康寫實主義電影

KW - 政宣電影

KW - 本土主義

KW - 校園民歌

KW - 電影音樂

UR - http://mcr.nccu.edu.tw/word/24324252013.pdf

UR - http://commons.ln.edu.hk/sw_master/5360

M3 - Journal Article (refereed)

SP - 41

EP - 65

JO - Mass Communication Research

JF - Mass Communication Research

SN - 1016-1007

IS - 59

ER -