English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 118295/149332 (79%)
Visitors : 78059227      Online Users : 652
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
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/158172


    Title: 人設、配樂、敘事: 《切膚慾謀》敘事性之移轉
    Character, Soundtrack, and Narrative: Exploring Narrativity Transfer in The Skin I Live In
    Authors: 許玉燕
    Hsu, Hortensia Yu-Yen
    Contributors: 文山評論:文學與文化
    Keywords: 亞伯特‧伊格雷西亞;阿莫多瓦;《切膚慾謀》;電影配樂;敘事性移轉;跨藝術研究
    Alberto Iglesias;Pedro Almodóvar;La piel que habito;soundtrack;narrativity transfer;interdisciplinary arts
    Date: 2025-06
    Issue Date: 2025-07-29 09:36:45 (UTC+8)
    Abstract: 本篇論文主要側重於梳理文字、影像、配樂之元素,如何對敘事性移轉產生作用。探討的文本為導演阿莫多瓦(Pedro Almodóvar),與配樂家亞伯特‧伊格雷西亞(Alberto Iglesias),於2011年所拍攝的電影《切膚慾謀》(La piel que habito)。文字版小說以第二人稱的敘事手法,使文本敘事重心落在被俘者文森(Vicente)身上。而在影像版本中,攝影鏡頭的操作與配樂的結合帶來了敘事重心的改變,使觀眾的注意力轉移到正在開展的事件和俘虜者萊德加德醫師(Dr. Robert Ledgard)身上。本研究探討了《切膚慾謀》一片在伊格雷西亞的原創配樂創作,和其他非原創音樂作品加入後,重新塑造了人物的性格,更合理化了其行動背後的情感動機,使得影像敘事產生有別於文字敘事的內涵意義。此外,本篇論文也將一併探討伊格雷西亞的電影配樂風格與其音樂創作思維。
    This research aims to analyze Pedro Almodóvar’s 2011 film, The Skin I Live In (La piel que habito), with a specific focus on the transfer of narrative elements from the written text to its cinematic adaptation. The textual version of the novel employs a second-person narrative technique, centering the story on the captive character, Vicente. In contrast, the visual medium incorporates visual elements and soundtracks, resulting in a shift in narrative emphasis. This modification redirects the audience’s attention to the unfolding events and the character of the captor, Dr. Ledgard. The study delves into the impact of Alberto Iglesias’s original score and other non-original musical pieces, aiming to elucidate their role in reshaping character personalities and rationalizing their motivations. Additionally, the research explores Iglesias’s film scoring style and his approach to music creation.
    Relation: 文山評論:文學與文化, 18(2), 83-117
    Data Type: article
    DOI 連結: https://doi.org/10.30395/WSR.202506_18(2).0004
    DOI: 10.30395/WSR.202506_18(2).0004
    Appears in Collections:[文山評論:文學與文化 THCI Core] 期刊論文

    Files in This Item:

    File Description SizeFormat
    18-2-4.pdf4308KbAdobe PDF25View/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