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Please use this identifier to cite or link to this item:
https://tkuir.lib.tku.edu.tw/dspace/handle/987654321/34455
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| Title: | 從「阿星」到「Stephen Chow」: 全球化下的喜劇之王 |
| Other Titles: | From "a-xing" to "stephen chow" : the king of comedy and globalization |
| Authors: | 賴曉君;Lai, Hsiao-chun |
| Contributors: | 淡江大學大眾傳播學系碩士班
魏玓;Wei, Ti |
| Keywords: | 全球化;文化全球化;無厘頭喜劇電影;周星馳;Globalization;Cultural Globaliztion;Nonsense Comedy Movie;Stephen Chow |
| Date: | 2007 |
| Issue Date: | 2010-01-11 05:17:20 (UTC+8) |
| Abstract: | 2004年周星馳自導自演，由美國好萊塢支持的電影《功夫》在香港和世界各地獲得巨大成功，周星馳也因此從充滿在地特色的演員成為全球知名的功夫喜劇大師。周星馳的改變，是全球化時代文化與經濟變遷過程的縮影。本文企圖透過對周星馳前、後期電影的比較文本分析，從其電影中的武功元素、無厘頭喜劇特徵，以及電影與在地社會之間的連結等三個面向切入，瞭解周星馳的電影發生了什麼變化？又延續了什麼？而這些變與不變又有什麼樣的文化意涵？
研究發現，為了迎合全球通俗電影市場，周星馳的功夫電影雖然保留武俠電影的基本元素，但明顯地依賴將武功招式具體化的電腦特效；在著名的無厘頭喜劇元素方面，大量減少了揉雜語言特色的對白，增加以視覺元素為主的笑料；他的近期作品也很少觸及香港社會的具體樣貌，而轉向一個比較模糊的時空。周星馳與他的無厘頭電影，確實因全球電影市場的考量而有所調整。這個過程顯然並非是隨心所欲的才華發揮，也不是自由平等的交流互惠，其間充滿著權力的鬥爭與妥協。
In 2004, “Kung Fu Hustle”, a kung-fu film financed by Hollywood major Columbia and directed by Hong Kong comedian Stephen Chow, hit Hong Kong and overseas market remarkablely. He also played the main role in the film. Therefore, Stephen Chow changed himself from a locally characterized actor to the celebrated king of kung-fu comedy master in global arena. The shift of Stephen Chow is an epitome of the transformations of culture and economy in the global era. The research takes a comparative analysis of Chow’s latest work that is oriented to the global market and his previous work. By examining three aspects, the elements of martial arts, the features of nonsense comedy, and the nexus between the films and Hong Kong society, of the sample films, the research aims to depict the changes and continuities of Chow’s works and its cultural significance.
The research concludes that in order to cater to the global popular film market, despite maintaining the core features of ‘traditional’ Chinese kung-fu films, Stephen Chow’s latest kung-fu films rely much more on computer special effects in presenting martial art actions. In the features of nonsense comedy, the local-language dialogue of the drama have to be deferred and there are more visual humor. In addition, the stories of his recent films do not closely connect with Hong Kong society but are set in a more vague time and space background. Stephen Chow and his nonsense comedy films, in order to satisfy both the West and East markets simultaneously, have changed substantially. Chow sacrificed his own inclinations and the ‘local’ cultures have to be transformed and adjusted in some way. There are power struggles and compromises in the process. |
| Appears in Collections: | [大眾傳播學系暨研究所] 學位論文
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