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| Title: | 電影與轉型正義的交織：以類型分析初探當代轉型國家再現威權之電影
The Interplay of Film and Transitional Justice: An Initial Exploration through Genre Analysis of Authoritarian Representation in Contemporary Transitional States |
| Authors: | 金佩瑾
Chin, Pey-Jing |
| Contributors: | 陳百齡
Chen, Pai-Lin
金佩瑾
Chin, Pey-Jing |
| Keywords: | 轉型正義
人權
白色恐怖
電影類型
類型分析
我只是個計程車司機
阿根廷1985
赤色謊言
謊言迷宮
Transitional Justice
Human Rights
White Terror
Film Genres
Genre Analysis
A Taxi Driver
Argentina 1985
Red Dust
Labyrinth of Lies |
| Date: | 2024 |
| Issue Date: | 2024-03-01 13:50:39 (UTC+8) |
| Abstract: | 本研究對轉型正義的定義為：轉型社會處理人權侵害遺緒的工程，包含承認人權侵害的事實、負起加害者責任，以達到反省及保證不再發生的目的。有鑒於「電影類型」可以反映社會文化與激發討論，本研究關注隨轉型正義興起、公開人權侵害真相的大眾文化電影，能否演繹為一新型態電影類型，和展現不同時區對於轉型正義的價值，提出研究問題為：世界各國的轉型正義電影類型特色為何？轉型正義電影反映出不同時空背景下，轉型正義的內涵為何？
本研究運用類型分析方法分析《我只是個計程車司機》（南韓，2017）、《阿根廷1985》（阿根廷，2022）、《赤色謊言》 （南非，2004）、《謊言迷宮》（德國，2014）四部符合人權價值的電影，觀看共有的類型公式及社會美學價值，探討其作為一類型電影的可能性，以期建立鑑別轉型正義電影的方法。
研究發現在類型電影特徵元素上，樣本電影共同協商受難者的形象、展現非典型加害者身份，並以旁觀者在威權時代的自我認同轉變表達不應縱容人權侵犯的價值。風格多運用音效、慢動作、跳接等方式表現人權侵害的情節，作為強調重要性與引發懸念，場景以家庭和法庭為樣本電影主要空間，衝突則發生在世代溝通、受難者待補償適格性的質疑和加害者身份多重性引發的矛盾。樣本電影具有共同的類型元素可以演繹為一轉型正義電影類型，又可以依引發人權迫害的原因分為意識形態衝突或種族衝突兩類次類型，且共同展現重視知情權、悲劇不應再現的轉型正義內涵。
The definition of transitional justice in this study is defined as the process of addressing the legacy of human rights abuses in transitional societies, including acknowledging the facts of human rights violations, holding perpetrators accountable, and guaranting for never happening again. Recognizing that "film genres" can reflect social and cultural aspects, stimulate social discussions, this study focuses on the films that emerged with the rise of democratization, exploring whether those films can be interpreted as a new type of film genre and can showcase the values of transitional justice in different times and countries. The research questions posed are: What are the forms of transitional justice films around the world? What does transitional justice signify in different temporal and spatial backgrounds through these films?
This study selected four films, namely " A Taxi Driver" (South Korea, 2017), "Argentina1985" (Argentina, 2022), "Red Dust" (South Africa, 2004), and "Labyrinth of Lies" (Germany, 2014), as samples for analysis.
Regarding the characteristic elements of film genres, the sampled films collectively negotiate the image of the victim, atypical perpetrators who protect or compensate victims, and the transformation of self-rights identification among observers, expressing the value of defending human rights violations. In the style of film genres, the films use sound effects, slow-motion, jump cuts, and similar repetitive techniques to depict scenes of human rights violations, emphasizing their importance and creating suspense. Scenes of film genres often include family and courtroom spaces, besides, with conflicts of film genres, focusing on intergenerational communication, the eligibility of compensating victims and perpetrators' identities, including their relationships with family and friends.
After analyzing the sampled films in this study, common elements suggest the emergence of a transitional justice film genre with a shared emphasis on the right to know the past about violating human right and never happening again. |
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| Description: | 碩士
國立政治大學
傳播學院傳播碩士學位學程
110464053 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0110464053 |
| Data Type: | thesis |
| Appears in Collections: | [傳播學院傳播碩士學位學程] 學位論文
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