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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/73738


    Title: 論羅曼‧波蘭斯基的恐怖電影 : 以《反撥》、《失嬰記》與《怪房客》為例
    Other Titles: The horror cinema of Roman Polanski : study on repulsion, rosemary’s baby and the tenant.
    論羅曼波蘭斯基的恐怖電影 : 以反撥, 失嬰記與怪房客為例
    Authors: 陳惠芳;CHEN, Hui-Fang
    Contributors: 淡江大學法國語文學系碩士班
    林春明
    Keywords: 恐怖電影;羅曼.波蘭斯基;反撥;失嬰記;怪房客;horror cinema;Roman Polanski;Repulsion;Rosemary's baby;The Tenant;Cinema d'horreur;Roman Polanski;Repulsion;le bebe de Rosemary;le Locataire
    Date: 2011
    Issue Date: 2011-12-28 16:59:51 (UTC+8)
    Abstract: 恐怖電影一直以來被視為娛樂商業片,因其表現出血腥、變態、暴力與性之惡趣味,在相關電影專書上時常被忽略或是低估其價值。法國學者艾希克重新檢閱恐怖電影的整體性,認為沒有好或壞的電影,恐怖電影如同其它電影,同樣能夠表達藝術形式。於是他提出「圖像」的概念,並辯證恐怖電影長期以來的誤解,即明示與暗示兩個極端的手法,不管哪一種呈現的方式都有其意義,因為在於導演如何透過電影語言具象化自身的恐怖概念。

    而羅曼‧波蘭斯基在影壇縱橫數十年,以其獨特的視覺風格擄獲大眾,尤以恐怖電影最受眾人推崇與喜好。但波蘭斯基的恐怖電影並非如好萊塢片廠以製造魔幻場面或是充斥著聒噪的聲光特效為賣點,而是以樸實平淡的敘事手法營造詭異的氣氛。是此,本論文以羅曼‧波蘭斯基的公寓三部曲—《反撥》、《失嬰記》與《怪房客》―作為研究範本,以艾希克恐怖電影概念為基礎,影片分析為方法試圖找出各部影片中的主題以及導演如何營造恐怖的方式。
    The horror film has always been regarded as a commercial movie. It represents the bloody, evil, and perverted pleasure on the screen. It has been neglected or underestimated by many critics for a long time. The french philosopher Éric Dufour rethinks the nature of the horror cinema and proclaims that there is no good movie or bad one. The horror cinema is like the other genre, which could show its artistic quality. He puts forward a notion about “figure” and clarifies the misunderstanding of technique between explication and implication. It relies on how the directors embody their horror concept by these techniques.

    Roman Polanski is famous for his visual style. His horror films are deeply appreciated by the public. The director never shows the monsters, the bizarreries in the image or distorts the settings. All he has to do is follow a simple narrative and put a little thing to make the atmosphere uncanny. We select three films-Repulsion, Rosemary’s baby and The tenant for case studies. With the notion of the figure and film analysis, we could discuss these three films.
    Appears in Collections:[法國語文學系暨研究所] 學位論文

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