标题: | 好莱坞婚礼电影的演变:真命天子与家庭价值之呈现与探讨 Hollywood’s Wedding Comedy Now and Then: Representing “the One” and Family Values |
作者: | 许瀚云 Hsu, Han-Yun 冯品佳 Feng, Pin-Chia 外国语文学系外国文学与语言学硕士班 |
关键字: | 婚礼喜剧;浪漫喜剧;真命天子;落跑新娘;结婚焦虑;家庭价值;wedding comedy;romantic comedy;runaway bride;wedding-ideological complex;the One;family values |
公开日期: | 2012 |
摘要: | 本文主要探讨以婚礼为主题的电影在二十世纪末到二十一世纪初产量暴增的现象,针对此现象提出解释,且进一步探讨其中所代表的意义。此论文的贡献在于将婚礼喜剧定义为由浪漫喜剧延伸出来的一种新的类型电影。 第一章主要分为两个部分,第一部分是定义‘婚礼喜剧’(wedding comedy)。第二部分是藉由情节、动机、最终目标与其意图等四个方面来比较浪漫喜剧(romantic comedy)与婚礼喜剧相同与相异之处。 第二章从历史背景作为切入点,将婚礼喜剧从1930年到2010年分为四个时期。探讨各时期的社会氛围与婚礼喜剧中女性脚色尝试挑战与颠覆当代社会观点的精神。各时期的女性脚色刻画反映当代女性渴望提升自主性与多元选择。 第三章主要呈现婚礼喜剧在二十一世纪初所反应与颠覆的社会价值,并探讨婚礼喜剧暴增与离婚率攀升之间的关系。将真命天子在浪漫喜剧中的设定去神秘化且给予新的解释,并反转落跑新娘在浪漫喜剧中所带有的负面意义。 最后,针对家庭价值的部分,婚礼喜剧对于传统家庭价值在二十一世纪初的概念做重新诠释。 The wedding scene is one of the most significant plot elements in romantic comedy, or rom-com, especially the “key kiss” on the altar which serves as a paradigmatic indicator of a happy ending. The wedding scene used to be an iconic part at the end of romantic comedy. In the late 20th century and the early 21st century Hollywood, however, there are more and more romantic comedy focusing on the wedding preparation as the main plotline. I presume that a “different phrase” or even a new genre is derived from Hollywood romantic comedy in the contemporary period. The first chapter is divided into two sections. The first section centers on the definition of wedding comedy. As for the second section, the differences between romantic comedy and wedding comedy are the main focuses. I compare these two genres in mainly four parts, the plot, the motivation, the ultimate goal, and the main purpose of both genres. The second chapter focuses on the reflections and reversions of wedding comedy. Additionally, the female’s self-transformation and self-liberation through wedding comedy has reached great progress in the order of time. In the final chapter, this thesis intends to point out what wedding comedy constantly reflects and reveres in the contemporary period. Moreover, the emerging number of wedding comedy and the high divorce rate share the similar curve in the charts. I intend to provide a possible answer to the representative of this tendency as well by using Chrys Ingraham’s “wedding-ideological complex.” Furthermore, I utilize Mary-Lou Galician’s “twelve myths” to demystify the concept of the pre-destined mate. To conclude, wedding comedy reverses the conventional perspectives toward runaway bride and it re-interprets the conventional family values. |
URI: | http://140.113.39.130/cdrfb3/record/nctu/#GT079745506 http://hdl.handle.net/11536/72585 |
显示于类别: | Thesis |
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