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    题名: Hollywood's images of Tibet
    其它题名: 好萊塢對西藏之印象
    作者: 張展彰;Chang, Jaan-jang
    贡献者: 淡江大學美洲研究所碩士班
    周一騰;Joe, Eaton
    关键词: 好萊塢;西藏達賴喇嘛;中國共產黨;逃避主義;Tibet;Hollywood;Dalai Lama;Chinese Communists;escapism
    日期: 2010
    上传时间: 2010-09-23 14:46:28 (UTC+8)
    摘要: 「你想,有天大家會在電影上看到西藏嗎?」,達賴喇嘛在「火線大逃亡」裡的對話,好萊塢也藉由電影回答了這問題。好萊塢對西藏之印象,經由時間的改變,也隨之變的不同。電影「消失的地平線」在1937年上映,好萊塢對西藏的第一印象也因這部電影而產生。香格里拉便成為好萊塢對西藏的第一印象,而這印象也一直停留在西方世界,直到九零年代西藏被共產統治。在那時候,人們因環境的混亂,便尋找避難所來躲避現況,如同電影「消失的地平線」和「剃刀邊緣」,兩部電影之中,主角便紛紛跑到東方尋找生命中的意義。然而,50年代到70年代,好萊塢對西藏逐漸的失去興趣,但因好萊塢面臨了一些重大問題,將其注意力拉開了西藏。這些重大的問題,便也變成好萊塢成功轉型的重要因素,因為這些問題迫使好萊塢面臨改變和轉型,也因此這樣,好萊塢轉變成世界的電影鉅業,直到今天仍然屹立不搖,也因此,這改變和轉型將好萊塢的注意力拉開。直到80年代,好萊塢的注意力又回到西藏,有兩部有關西藏的電影上映了,1984年的「剃刀邊緣」和1986年的「橫掃千軍」,其中「橫掃千軍」還成為了派拉蒙公司的年度鉅作。兩部電影所描述的西藏手法,都不一樣,「剃刀邊緣」將西藏之風景和宗教,一一的在電影之中描述出來,而「橫掃千軍」將西藏描述為背負著天賦使命的高尚好人。到了90年代,西藏成為了好萊塢最搶手的題目,三部與西藏有關的電影紛紛在全世界上映,1993年的「小活佛」,1997年的「活佛傳」和「火線大逃亡」。這三部電影,也顯現出西藏從香格里拉的印象,轉成為共產國家的受害者,此外,這些電影也將注意力,全神貫注在西藏的宗教,文化,責任,以及悲劇。

    本論文將探討好萊塢分別在三個不同的時期裡對西藏之印象。這三個不同時期的西藏印象分布在第三章至第四章,而第一章和第六章為緒論和結論。第二章將介紹好萊塢的歷史,也包含了它的觀眾,觀眾是好萊塢最大的經濟來源,也是它即為重要的目標。本論文的研究發現,論文之中所提到的問題,也紛紛的被解答,好萊塢將西藏視為中國共產黨的受害者便將嘗試經由他的影響力拯救西藏。好萊塢企業是如此的浩大和如此的具有影響力,便對西藏具有興趣和影響力是本論文想尋找的答案。
    “Do you think someday people will look at Tibet on a movie screen?” This was a line spoken by Dalai Lama in the Seven Years In Tibet, through the century, Hollywood has answered. Hollywood’s images of Tibet have shifted from time to time. In 1937, Hollywood released Lost Horizon which turned out to be a blockbuster of the year, created the first image of Tibet as Shangri-La. Indeed, the west remains this Shangri-La image until the 90s when the tragedies of Tibetans start to reveal. Sanctuary was needed according to the movie, and due to the fact situation was chaotic. From Lost Horizon and The Razor’s Edge, both protagonists underwent a quest to search the meaning of their existence. However, from the 50s to the 70s, Hollywood was lack of interest in Tibet, and there were several problems Hollywood were facing during the time. But these problems forced Hollywood to change and transformed into a multibillion corporations. Hence, Hollywood’s attention on Tibet was pulled away by these problems. In the 80s, the lack of interest in Tibet changed, two movies, The Razor’s Edge and The Golden Child, were released, which The Golden Child turned out to be a blockbuster of the year. These movies explored Tibet in a different way, The Razor’s Edge explored Tibet by focusing in the sceneries and religion. As to The Golden Child, the Tibetans are good people with high virtues. In the 90s, topics about Tibet are popular and three major movies were released, Little Buddha, Kundun, and Seven Years In Tibet. Tibet is no longer a Shangri-La to the west, and it becomes a victim of the Chinese Communists. These movies revealed the tragedies of Tibetans under the control of Chinese Communist, and through Hollywood movies, the world starts to know more about Tibet.

    This thesis will determine the images of Tibet in terms of three periods. These periods are discussed in chapter three to chapter five, and chapter one and six are preface and conclusion. Chapter two will introduce the historical background of Hollywood, including the discussion of the audiences Hollywood. The thesis concluded with the findings of Hollywood’s images of Tibet. One discovery is Hollywood tries to save Tibet due to its human rights status under China are worse. Hollywood’s influential power has dominated the world’s movie entertainment businesses and it is interesting to understand why throughout the century, Hollywood desire to explore Tibet.
    显示于类别:[美洲研究所] 學位論文

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