Suchergebnisse

本文是關於泰國導演阿比查邦·魏拉希沙可在2000 年至2010 年間作品的整體性研究,包括電影、短片和錄影裝置等不同形式。我們將討論阿比查邦的現代主義電影風格如何回應當下泰國的社會政治現實和歷史處境,並產生其文化政治效應。同時,我們也試圖借此重申和強調電影的美學研究在把握作品形式與外在歷史社會條件上的融貫性和理論重要性,尤其是在以時間為現代思想和經驗的內在線索這點上。 ; 首先我們將阿比查邦置於世界電影史和泰國電影史交匯的座標之下,然後從個三方面考察他如何將泰國的"非同步"、複調節奏的社會現實納入對"非順時性時間"探索(與戰後現代主義電影的譜系一致)的美學風格中。第一個方面,是他在早期作品中關於"講故事"形式的實驗,據此他發展出一種新的敘事性,打破傳統敘事中統一的"敘述時間",而替代以一種"居中性"的"時差"效應;同時發展出對分離的聲畫關係的各種新嘗試。第二個方面,是他中期作品中對感性經驗的重塑,包括引入異質化多元的時延、非個人知覺和情感模式。第三個方面,是貫穿電影長片和錄影裝置作品的"分叉"結構(或二分結構)。通過這一結構,他引入對時間性三維(過去現在未來)的靜態綜合和重新分配,即,將編年歷史的順時時間內攝於各種元素差異與重複建立起的超歷史(或非歷史)的時間分化;無論是過去還是當下的事件,都被體驗為一種對先在的純粹的事件如同儀式一般的召喚。這正是阿比查邦式的非歷史性的時間觀念和神話式敘述機制。同時,每一個方面都包含了阿比查邦在相應的作品中處理回應的泰國社會現實問題,將在論文中詳細展開。 ; This dissertation has three ambitions. The first is to provide an interpretation of the works by Apichatpong Weerasethakul in the 2000s as an auteur study, including feature films, experimental shorts, and video installations, which requires a new vision for film criticism for the compelling mode of filmmaking practice. The second is to discuss the social-political function of the modernist cinema in a contemporary society with specific historical trajectory of modernity, by investigating how Apichatpong's works relate/respond to Thai historical-social-politic circumstance. The third is to make an argument for the theoretical importance of aesthetics study of cinema in the light of the concern for time that is intrinsic to both thought and being and underlies modern experience. ; By locating Apichatpong in the junction of global and local cinema with historical contextualization, this study will unfold around how Apichatpong registers the polyrhythm of the "non-synchronicity" of contemporary Thai reality on his artistic innovative of the non-chronological temporality in three main parts. The first is the "storytelling device" which creates a new narrativity by transforming the "diegetic time" into a pure "time-lag" or "in-between" with an experiment of the disparity of sound and image. The second is a reconfiguration of the sensible, which consists of heterogeneity of ...

香港在主流革命史學的敘述中一般被認為是推動辛亥革命的「搖籃」,但在革命黨人之外的社會大眾,對「革命」究竟有怎樣的取態?《香港華字日報》是這段時期香港銷量最大的華文報紙,仔細考察該報創辦的歷史及其1909-1913年的政治取態,可見該報是華商陳氏家族的一份現代產業,並無黨派認同,報紙內容與宗旨也頗具現代傳媒的新聞專業主義色彩,強調「中立」而較少傳統「文人論政」情懷。 ; 本文選取1909-1913年的《香港華字日報》,剖析這五年的報紙中與「革命」相關的內容細節,認為這份報紙對「革命」並非積極推動,取態反而偏於保守,並順應時勢而調整:辛亥前報紙展現的「革命」介於傳統和現代之間,既是「犯上作亂」的傳統造反,又是謀求民族獨立、政治改良的現代革命;而辛亥之後,報紙不滿意革命黨建立的地方政府,轉而支持中央而強烈反對革命黨的「二次革命」。這樣的取態既反映了部份以往未得到充分審視的社會輿論,也與報紙自身的立場及處境有關。 ; Hong Kong is understood as the "birthplace" of the 1911 Revolution in mainstream studies of the Chinese Revolution. But besides the revolutionaries, how did ordinary people understand "revolution"? Wah Tsz Yat Po was the most widely circulated Chinese language newspaper in Hong Kong during the period concerned. The thesis is an in-depth study of the newspaper's founding history and its political stance during 1909-1913. It is found that the newspaper was a modernised property owned by the Chan family in Hong Kong. It did not have political affiliations. Its content and objectives showed the newspaper's emphasis on journalistic professionalism that was similar to that held by modern day mass media, preferring "neutrality" over the tradition of providing political comments. ; The thesis closely examines the content of Wah Tsz Yat Po that was related to revolution during 1909-1913. It proposes that the newspaper did not play an active role in promoting revolution. Its stance was rather conservative instead and changed in accordance with political developments. Before the revolution of 1911, the newspaper regarded "revolution" as something between tradition and modernity. It was understood as a "rebellion against the authorities" in the traditional sense and also as a way to attain national independence and political reform in the modern sense. After 1911, the newspaper was against the local government set up by the revolutionists. It then turned its support to Yuan's central government and took a strong oppositional stance towards "the Second Revolution" initiated by Sun's revolutionary party. Its stance not ...