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Stylistic Innovations and the Emergence of the Urban in Taiwan Cinema: A Study of Bai Jingrui's Early Films



本論文審視台灣導演白景瑞的早期作品,討論其電影在台灣國語片史中的定位。白景瑞電影中的風格創新帶引出了台北的現代都會風貌;其早期的一系列電影-《寂寞的十七歲》(1968)、《新娘與我》(1968)、《今天不回家》(1969)、《家在台北》(1970)-也型塑了台灣浮現出的中產階級。白的都會喜劇及家庭倫理片確定了台灣電影中現代的、摩登的感情樣貌及家庭概念。白景瑞作品中的現代性及都會感也建構了七○年代瓊瑤片中的中產感情觀。白景瑞在其都會片之後的《再見阿郎》(1970) 嘗試以寫實技法呈現底層社會;雖然這寫實風格在七○年代沒能得到迴響,卻為後來八○年代台灣新電影的懷舊寫實開了先路。

Parallel abstracts

This study looks into the early films of Bai Jingrui and discusses how Bai’s work can be explored in the context of a re-examination of Taiwan’s Mandarin-language film. The modern aesthetics Bai experimented with in his urban films brought forth the visual emergence of Taipei as the city center of Taiwan. Bai’s early films - such as Lonely Seventeen (寂寞的十七歲, 1968), The Bride and I (新娘與我, 1968), Accidental Trio (今天不回家, 1969), and Home Sweet Home (家在台北, 1970) - initiated the features of an emerging middle class onto the screen, affirming modern romance and an evolved sense of family in the forms of urban comedies and family melodramas. The urban sensibility Bai displayed in his early films later contributed to the middle class sense of romance in the Qiong Yau films of the 1970s. With his Goodbye Darling (再見阿郎, 1970), Bai tried to inject a realist sensibility into Taiwan's film scene, which did not catch on in the 70s but was later given full expression in the early 1980s by a group of films we now identify as Taiwan New Cinema.


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