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客棧與寺廟：胡金銓電影裡的舞台=The Inn and the Temple: Stages of Conflict in King Hu |
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| 著者 |
王品皓 (著)=Wang, Pin-Hao (au.)
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| 出版年月日 | 2019 |
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| ページ | 61 |
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| 出版者 | 國立交通大學 |
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| 出版サイト |
https://www.nycu.edu.tw/
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| 出版地 | 新竹市, 臺灣 [Hsinchu shih, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 英文=English |
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| 学位 | 修士 |
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| 学校 | 國立交通大學 |
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| 学部・学科名 | 外國語文學系外國文學與語言學碩士班 |
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| 指導教官 | 賈元鵬 |
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| 卒業年 | 107 |
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| キーワード | 胡金銓=King Hu; 武俠=Wuxia; 客棧=Inn; 寺廟=Temple; 京劇=Beijing Opera; 《大醉俠》=Come Drink with Me; 《龍門客棧》=Dragon Gate Inn; 《迎春閣之風波》=The Fate of Lee Khan; 《空山靈雨》=Raining in the Mountain; 《山中傳奇》=Legend of the Mountain |
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| 抄録 | 客棧和寺廟皆為胡金銓電影裡的主要場景，此文主要藉由分析電影：《大醉俠》(1966)、《龍門客棧》(1967)、《迎春閣之風波》(1973)、《空山靈雨》(1979)以及《山中傳奇》(1979)來探討胡金銓如何使用客棧以及寺廟等場景來展示武打動作以及其他相關意涵。
本文主要分為兩部分。第一部分探討在客棧三部曲中，胡金銓如何形塑客棧以及如何承繼京劇傳統。同時也將探討客棧在三部曲中的角色變換。
第二部分主要在分析《空山靈雨》以及《山中傳奇》。相較於客棧，寺廟較為神聖，胡金銓不只將他的招牌武俠放入寺廟主題中，更加入了禪的意境。
胡金銓電影裡的舞台，從世俗的客棧到神聖的廟宇，各自代表了胡金銓電影生涯的不同階段，也點出Stage在本文中雙關的意義。
Inns and temples are key locations in King Hu’s films. In this thesis, I will examine how King Hu uses the inn and the temple as stages to perform action scenes and show other functions. I am going to consider five films of King Hu chronologically—Come Drink with me (1966), Dragon Gate Inn (1967), The Fate of Lee Khan (1973), Raining in the Mountain (1979), and Legend of the Mountain (1979). The first three films comprise the Inn trilogy, while the latter two form a diptych of temple life This thesis will explore the relations among the setting, the aesthetics and the thematic concerns regarding good and evil in these two groups of films.
The first section deals with the Inn trilogy, which King Hu models the inn and the actions within it on Beijing Opera performance traditions. In Come Drink with Me, the inn functions as a place for disguise and action. The inn achieves a central importance in Dragon Gate Inn, and becomes a site for more major actions. And in The Fate of Lee Khan, the inn completely dominates the film space. The inn trilogy is a process of getting into the inn and the inn becomes more and more staged within the trilogy.
The second section focuses on Raining in the Mountain and Legend of the Mountain. In Raining in the Mountain, the temple is a variation of the inn up to a point. King Hu uses the temple not only to perform his signature action scenes but also to allude to Zen teachings. King Hu’s main focus turns from spiritual to primarily aesthetic concerns in Legend of the Mountain; however, a power struggle is also the focus on both films.
The inn and the temple are not only stages for the action within the films but also metaphoric sites to mark the development of King Hu’s artistry and thematic concerns over his career. |
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| 目次 | Chinese Abstract i
English Abstract ii
Acknowledgements iv
List of Figures vi
Introduction 1
I.Secular Stages 8
II.Sacred Stages 44
Conclusion 59
Works Cited 60 |
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| ヒット数 | 639 |
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| 作成日 | 2022.09.26 |
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| 更新日期 | 2023.02.17 |
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