政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/100688
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113318/144297 (79%)
Visitors : 50995437      Online Users : 753
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
    •  Adv. Search
    Home ‧ Login ‧ Upload ‧ Help ‧ About ‧ Administer Goto mobile version


    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/100688


    Title: 這次他開始旅行了：侯孝賢《珈琲時光》的陰性轉向
    Other Titles: This Time He Travels: Café Lumière and Hou Hsiao-Hsien`s Feminine Turn
    Authors: 鄧紹宏
    Teng, Shao-Hung
    Keywords: 侯孝賢;《珈琲時光》;旅行;火車／電車;母體;晶體─影像
    Hou Hsiao-hsien;Café Lumière;travel;train/tram;matrix;crystal-image
    Date: 2015-03
    Issue Date: 2016-08-23 17:56:43 (UTC+8)
    Abstract: 這篇論文嘗試從旅行的視角，探視侯孝賢《珈琲時光》（Café Lumière, 2003）中的陰性轉向。論文透過交通工具（火車／電車）、女性及歷史三個面向，說明侯孝賢如何在旅行的異文化接觸中，開放出不同於過往設定在台北的當代片對於女性角色的呈現與想像，並轉而將當代都會配置為一無人稱母體，將日常事物收納在湧現與生發的動態流變中。我將討論分為四部分，第一部分簡要說明侯孝賢當代片所呈現的困頓與脫逃衝動;第二部分聚焦素有侯氏電影簽名之稱的「火車」，配合與都市、旅行及電影史的關聯，探討此交通工具在《珈琲時光》中的轉化。第三部分說明《珈琲時光》中女性形象的串連及轉變;第四部分取徑／鏡德勒茲（Gilles Deleuze）的影像哲學，思考《珈琲時光》以母性／母體為晶種而生發的影像能量。
    This paper studies Hou Hsiao-hsien`s feminine turn in Café Lumière (2003) through the filter of travel. By way of analyzing the train/tram, female characters, and history in the film, the paper traces how Hou`s contact with a foreign culture brings forth an innovative imagination of female characters different from that of his earlier works set in urban Taiwan. The experience enables Hou to characterize the city as a non-personal matrix, folding everyday events into ceaseless emergence, contingency and becoming. The first part of the paper illustrates the dynamic of entrapment and escape in Hou`s contemporary urban films. The second part posits Hou`s signatural train imagery in relation to the city, travel and film history and discusses its transformation in Café Lumière. While the third part highlights the film`s unique deployment of a constellation of females, the final part adopts Gilles Deleuze`s image philosophy to catalyze a crystal-image that condenses and reflects multiple sheets of female/feminine experiences in everyday city life.
    Relation: 文化越界,2(1),135-160
    Cross-cultural Studies
    Data Type: article
    Appears in Collections:[Cross-cultural Studies] Journal Articles

    Files in This Item:

    File Description SizeFormat
    2(1)-135-160.pdf1657KbAdobe PDF2780View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback