臺灣「後新電影」中的「本土」義蘊 — 以《海角七号》、《陣頭》、《總舖師》等三部電影為觀察對象

Indigenous Connotation of the Post-New-Cinema-Movement Movies in Taiwan A Case Study on “Cape No.7”, “Din Tao: Leader of the Parade” and “Zone Pro Site”

張惠淑(Chang Hui Shu)

指導教授 ： 黃清順

國立中正大學/文學院/台灣文學與創意應用研究所/碩士(2014年)

摘要

自2008年魏德聖導演的《海角七号》大大賣座之後，因為題材貼近人心以及內容的在地性，引發許多共鳴，連帶造就了近幾年的國片高票房，觀眾趨之若鶩。從而也促使臺灣導演愈來愈關懷在地文化的發展，努力挖掘生活週遭的人事物來提醒大眾對鄉土的關懷、對本地的認同。以此，本論文即以「本土電影」為研究基底，關注2008年《海角七号》上映之後帶起的國片復興熱潮，並進而檢視此一波所謂「後新電影」現象，至於具體探討的作品則選定三部「破億電影」《海角七号》、《陣頭》、《總舖師》— 為觀察對象。思考本土電影如何在「後新電影」時期發展出自己的特色，和從前舊有的國片模式做出區別。此外，筆者試著梳理、歸納這三部電影的內容，在「本土」的基底上有哪些共同特徵，具備哪些素材。本土文化在面臨現代快速競爭社會的現實下，如何走出屬於自己的一片天，在創新和傳統的對立衝突取捨下，尋找共存共容的立足點。通過分析這些題材，適時了解國片近幾年發展的新趨勢，喚起大眾關懷臺灣土地、保存珍貴文化的初心。

關鍵字

總舖師 ； 陣頭 ； 海角七号 ； 後新電影 ； 本土 ； 辦桌

並列摘要

The movie “Cape No.7” directed by Wei Desheng was a big hit in 2008 and won much resonance due to its theme appealing to common view and its content coinciding with local environment. Since then, its success has boosted an outstanding box-office performance for domestic movies over the past few years, with thousands of viewers speaking highly of them. Consequently, directors in Taiwan started to pay more attention to the development of local culture, trying to raise public awareness and recognition of their homeland by presenting affairs in daily life. In light of this reality, this paper focuses on domestic movies, especially on the increasingly heated rejuvenation of domestic movies since the big hit of “Cape No.7”, and further examines the so-called post-new-cinema-movement movies. This paper selects the three movies “Cape No.7”, “Din Tao: Leader of the Parade” and “Zone Pro Site” as research objects, all of which are big hits with their sales figures scoring over 100 million. Questions are discussed on how to create unique features in the post-new-cinema-movement period and how to form a new pattern for domestic movies different from traditional ones. In addition, the author attempts to draw an outline for the three movies, so as to figure out what they have in common on the indigenous basis and what elements they use as material. It also tries to explore how local culture can survive in the fast-paced, highly competitive contemporary society and regain its place in this era as well as find a common ground of coexistence through assimilation and discard despite of all the conflicts and confrontation between innovation and conservation. By analyzing these materials, the study reveals new trend in the development of domestic movies in hope of evoking the public’s concern for the land of Taiwan and their devotion to preserving precious culture.

並列關鍵字

Zone Pro Site ； Din Tao: Leader of the Parade ； Cape No.7 ； post-new-cinema-movement movie ； indigenous ； catering

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