‧ 國
立 政 治 大 學
‧
N a tio na
l C h engchi U ni ve rs it y
參考文獻
王友琴(1996)。〈1966︰學生打老師的革命〉,劉青峰(編)《文化大革命︰史實 與研究》,頁 17-36。香港︰中文大學。
王浙濱(2003)。〈不了鄉情——《巴爾扎克與小裁縫》如何搬上銀幕〉,《電影》,
2003.7︰7-9。
王朔(2005)。〈創作談(王朔答問)〉,葛紅兵、朱立冬(編)《王朔硏究資料》,
頁 19-47。天津 : 天津人民。
王斌(1998)。《張藝謀這個人》。北京︰團結。
王曉玉主編(2003)。《中國電影史綱》。上海︰上海古籍。
〈《巴爾札克與小裁縫》導演坦誠︰劉燁和陳坤「確實流露出特殊情誼」〉
(2003.04.30)。《銀河互動網路》。上網日期︰2008 年 12 月 12 日,取自 http://www1.iwant-song.com/d-c0001/?sn=d-c0001_20030430_03
尹鴻(1999)。〈國際化語境中的中國大陸電影〉,葉月瑜、卓伯棠、吳昊(編)
《三地傳奇:話語電影二十年》,頁 210-232。台北:國家電影資料館。
古偉瀛、王晴佳(2000)。《後現代與歷史學︰中西比較》。台北︰巨流。
朱大可(1998)。〈謝晉電影模式的缺陷〉,中國電影家協會(編)《論謝晉電影》,
頁 91-93。北京︰中國電影。
余楠(2007.09.01)。〈戴錦華:冒犯,但不矯情〉,《新世紀周刊》,2007.25︰114-116。
吳文光(1994)。《革命現場一九六六︰一部記錄片的拍攝手記》。台北︰時報。
吳坤墉(2001)。〈兩岸新電影︰傲視柏林〉,《亞洲週刊》,15.9︰58-60。
宋強等(1996)。《中國還是能說不》。台北 : 人間。
李幼蒸(1991)。《當代西方電影美學思想》。台北︰時報。
李道新(2005)。《中國電影文化史(1905-2004)》。 北京︰北京大學。
李爾葳(2003)。《張藝謀的電影世界》。新莊︰情報文化。
李爾葳(2002)。《直面陳凱歌 : 陳凱歌的電影世界》。北京︰經濟日報。
李澤厚(1996)。《中國現代思想史論》。台北︰三民。
何華生(2004)。〈呂樂︰從「攝影翹楚」到快樂的導演〉,《電影畫刊》,2004.4︰
14-15。
孟悅(1991)。〈性別表象與民族神話〉,《二十一世紀》,4︰103-112。
孟悦、戴錦華(1993)。《浮出歷史地表︰中國現代女性文學硏究》。台北︰時報。
林文淇(2000)。〈戲․歷史․人生--《霸王別姬》與《戲夢人生》中的國族認
同〉,林文淇、沈曉茵、李振亞(編)《戲戀人生︰侯孝賢電影硏究》,頁 231-259。
台北︰麥田。
金春明、黃欲沖、常惠民(1989)。《文革時期怪事怪語》。北京︰求實。
〈姜文︰它是我心中的太陽〉(2007.09.15)。《大眾電影》,2007.18︰15-16。
姜文(1996)。〈燃燒青春夢--《陽光燦爛的日子》導演手記〉,《當代電影》,
1996.1︰59。
韋政通(2001)。《一陣風雷震世界:毛澤東與文化大革命》。新店:立緖。
席宣、金春民(1996)。《「文化大革命」簡史》。北京:中共黨史。
迷走(1998)。《離開電影院之後》。台北︰元尊文化。
馬戎戎(2005.11.22)。〈姜文和新生代︰電影審查是問題嗎?〉。上網日期︰2008 年 3 月 5 日,取自 http://www.lifeweek.com.cn/2005-12-01/0000113866.shtml
高義龍、李曉(編)(1999)。《中國戲曲現代戲史》。上海︰上海文化。
崔君衍譯(2005)。《電影是什麼》。南京:江蘇教育。(原書 Bazin, A. Qu'est-ce que le cinéma? . Les Editions du Cerf)
張法、張頤武、王一川(1994)。〈從「現代性」到「中華性」--新知識型的探
尋〉,《文藝爭鳴》1994.2︰10-20。
張衛(1999)。〈新時期大眾觀影心理變遷〉,中國電影家協會(編)《改革開放二 十年的中國電影--第七屆中國金雞百花電影節學術研討會論文集》,頁 395-412。北京︰中國電影。
張頤武(2006)。《全球化與中國電影的轉型》。北京︰中國人民大學。
張頤武(2001)。〈全球化與大陸電影的二元性發展〉,劉現成(編)《拾掇散落的
光影︰華語電影的歷史、作者與文化再現》,頁 23-39。台北︰亞太。
梁麗芳(1993)。《從紅衛兵到作家︰覺醒一代的聲音》。台北︰萬象。
陳旭光(2004)。《當代中國影視文化研究》。北京︰北京大學。
陳南(2002)。《中國電影創作思潮評析》。上海︰同濟大學。
陳偉忠(2004)。《從毛澤東思想論文革樣板戲》。淡江大學中國大陸研究所碩士 在職專班碩士論文。
陳凱歌(1992)。〈我怎樣拍《黃土地》〉,羅藝軍(編)《中國電影理論文選(20-80 年代)下冊》,頁 558-573。北京︰文化藝術。
陳凱歌(1991)。《少年凱歌》。 台北︰遠流。
陳犀禾(2003)。《跨文化視野中的影視藝術》。上海︰學林。
陳墨(2006a)。《陳凱歌的電影世界︰少年的詩篇》。台北︰風雲時代。
陳墨(2006b)。《張藝謀的電影世界︰青春的吶喊》。台北︰風雲時代。
陸紹陽(2004)。《中國當代電影史︰1977 年以來》。北京︰北京大學。
焦雄屏(1998)。《風雲際會︰與中國當代電影對話》。台北︰遠流。
黃傑、牟曉光(1990)。〈中國青年思潮備忘錄〉,《青年研究》,1990.9︰20-27。
楊劍龍(2003)。〈狂熱年代紅衛兵情感的宣泄與記錄──讀《紅衛兵詩選》〉,《二 十 一 世 紀 》( 網 絡 版 ), 10 。 上 網 日 期 ︰ 2008 年 6 月 2 日 , 取 自 http://www.cuhk.edu.hk/ics/21c/supplem/essay/0210044.htm
葉坦(1998)。〈「電影是感情性的東西」--與張藝某的談話〉,《電影藝術》,
1998.3︰52-59。
趙士林(1996)。《內戰:中共左傾實錄》。台北:萬象。
劉心武(2005)。〈「大院」裡的孩子們〉,葛紅兵、朱立冬(編)《王朔硏究資料》,
頁 230-237。天津 : 天津人民。
劉蔚然(1998)。〈誕生--記(祭)那一段陽光燦爛的日子〉,《電影欣賞》,16.6︰
108-111。
戴錦華(2006)。《性別中國》。台北 : 麥田。
戴錦華(2005)。〈個人寫作與青春故事〉,葛紅兵、朱立冬(編)《王朔硏究資料》, 頁 238-242。天津 : 天津人民。
戴錦華(1999a)。《斜塔瞭望:中國電影文化 1978-1998》。台北:遠流。
戴錦華(1999b)。《隱形書寫--90 年代中國文化研究》。南京:江蘇人民。
戴錦華(1998)。〈歷史與敘事--謝晉電影藝術管見〉中國電影家協會(編)《論
謝晉電影》,頁 142-160。北京︰中國電影。
戴錦華(1996)。〈困境與裂痕︰邁向九○年代的新中國電影〉,李天鐸(編)《當 代華語電影論述》,頁 283-304。台北:時報。
謝晉(1998)。《我對導演藝術的追求》。北京︰中國電影。
謝彩妙(2004)。《尋找青冥劍︰從《臥虎藏龍》談華語電影國際化》。台北︰亞 太。
羅雪瑩(1993)。《敞開你的心扉--影壇名人訪談錄》。北京︰知識。
嚴家其、高皋(1989)。《文化大革命十年史》。台北︰百川。
Anderson, B. (1991). Imagined communities: Reflections on the origin and spread of nationalism. London, New York: Verso.
Ang, I. (2000). Can one say no to Chineseness? Pushing the limits of diasporic paradigm. In. R. Chow (Ed.), Modern Chinese literary cultural studies in the age of theory: Reimagining a field (pp. 281-300). Durham: Duke University Press.
Appadurai, A. (1996). Modernity at large: Cultural dimensions of globalization.
Minneapolis: University of Minnesota Press.
Bakhtin, M. M. (1978). The formal method in literary scholarship: A critical introduction to sociological poetics (P. N. Medvedev, Trans.). Baltimore: Johns Hopkins University Press
Barmé, G. R. (1999). In the red: On contemporary Chinese culture. New York:
Columbia University Press.
Barthes, R. (1986). The rustle of language (R. Howard, Trans.). Berkeley: University of California Press.
Benjamin, W. (1998). The origin of German tragic drama (J. Osborn, Trans). London, New York: Verso.
Berry, C. (1991). Market forces: China’s ‘fifth generation’ faces the bottom line. In C.
Berry (Ed.), Perspectives on Chinese cinema (pp. 114-139). London: British Film Institute.
Bhabha, H. K. (1990). Introduction: Narrating the nation. In H. K. Bhabha (Ed.), Nation and narration (pp. 1-7). London, New York: Routledge.
Braester, Y. (2005). Farewell My Concubine: National myth and city memories. In C.
Berry (Ed.), Chinese films in focus: 25 new takes (pp. 89-95). London: British Film Institute.
Browne, N. (1994). Introduction. In N. Browne, P. G. Pickowicz, V. Sobchack & E.
Yau (Eds), New Chinese cinemas: Forms, identities, politics (pp. 1-11).
Cambridge, New York, Melbourne: Cambridge University Press.
Chen, K. & Rayns, T. (1989). King of Children and the new Chinese cinema. London:
Faber and Faber.
Chen, P. (1994). History lessons. Film Comment30(2), 85-87.
Chen, X. (1997). The mysterious other: Postpolitics in Chinese film. In A. Dirlik & X.
Zhang (Eds.), Postmodernism and China (pp. 222-238 ). Durham and London:
Duke University Press.
Chow, R. (1998). Ethics after idealism: Theory, culture, ethnicity, reading.
Bloomington: Indiana University Press.
Chow, R. (1995). Primitive passions: Visuality, sexuality, ethnography, and contemporary Chinese cinema. New York: Columbia University Press.
Clark, P. (2005). Reinventing China: A generation and its films. Hong Kong: The Chinese University Press.
Cui, S. (2003). Women through the lens: Gender and nation in a century of Chinese cinema. Honolulu: University of Hawaii Press.
Dai, S. (2003). Balzac and the Little Chinese Seamstress. Literary Cavalcade 56(3), 6-13.
De Certeau, M. (1988). The practice of everyday life (S. F. Rendall, Trans.). Berkeley, Los Angeles and London: University of California Press.
Dirlik, A. (1997). The Postcolonial Aura: Third World Criticism in the Age of Global Capitalism. Colorado: Westview Press.
Dirlik, A. (1994). After the revolution: Walking to global capitalism. Hanover:
Wesleyan University Press.
Dirlik, A. (1989). Postsocialism? Reflection on “socialism with Chinese characteristic”. In A. Dirlik & M. Meisner (Eds.), Marxism and the Chinese experience: Issues in contemporary Chinese socialism (pp. 362-384). New York:
M.E. Sharpe.
Foucault, M. (1988). Madness and civilization: A history of insanity in the age of reason (R. Howard, Trans). New York: Vintage Books.
Freud, S. (1989). The dissolution of the Oedipus complex. In P. Gay (Ed.), The Freud reader (pp. 661-666). New York : W.W. Norton.
Giannetti, L. D. (1993). Understanding movies. New Jersey: Prentice Hall.
Harding, H. (1995). The concept of ‘Greater China’: Themes, variations and reservations. In D. Shambaugh (ed.), Greater China: The next superpower? (pp.
8-34). New York: Oxford University Press.
Heath, S. (1981). Question of cinema. Bloomington: Indiana University Press.
Hubbert, J. (2005). Revolution is a dinner party: Cultural Revolution restaurants in contemporary China. China Review 5(2), 125-150.
Jameson, F. (2000). Third-world literature in the era of multinational capitalism. In M.
Hardt & K. Weeks (Eds.), The Jameson reader (pp. 315-339). Oxford: Blackwell.
Jameson, F. (1991). Postmodernism, or, the cultural logic of late capitalism. Durham:
Duke University Press.
Jameson, F. (1981). The political unconscious : Narrative as a socially symbolic act.
Ithaca: Cornell University Press.
Jameson, F. (1971). Marxism and form: Twentieth-century dialectical theories of literature. Princeton: Princeton University Press.
Kellner, H. (1997). “Never again” is now. In K. Jenkins (Ed.), The postmodern history reader (pp. 397-412). London, New York: Routledge.
Klawans, S. (1995). Zhang Yimou: Local hero. Film Comments, 31(5), 10-18.
Kleinman, A. & Kleinman, J. (1994). How bodies remember: Social memory and bodily experience of criticism, resistance, and delegitimation following China’s Cultural Revolution. New Literary History 25(3), 707-723.
Kracauer, S. (1997). Theory of film : The redemption of physical reality. Princeton:
Princeton University Press.
Larson, W. (1997).The concubine and the figure of history: Chen Kaige’s Farewell My Concubine. In S. H. Lu (Ed.), Transnational Chinese cinema: Identity, nationhood, gender (pp. 331-347). Honolulu: University of Hawaii Press.
Lu, S. H. (2005). Chinese film culture at the end of the twentieth century: The Case of Not One Less by Zhang Yimou. In S. H. Lu & E. Y. Yeh (Eds.), Chinese-Language film: Historiography, poetics, politics (pp. 120-137). Honolulu:
University of Hawaii Press.
Lu, S. H. (2001). China, transnational visuality, global postmodernity. California:
Stanford University Press.
Lu, S. H. (1997a). Historical introduction: Chinese cinemas (1896-1996) and transnational film studies. In S. H. Lu (Ed.), Transnational Chinese cinema:
Identity, nationhood, gender (pp. 1-31). Honolulu: University of Hawaii Press.
Lu, S. H. (1997b). National cinema, cultural critique, transnational capital: The films
of Zhang Yimou. In S. H. Lu (Ed.), Transnational Chinese cinema: Identity, nationhood, gender (pp. 105-136). Honolulu: University of Hawaii Press.
Lu, S. H. & Yeh, E. Y. (2005). Introduction: Mapping the field of Chinese-language cinema. In S. H. Lu & E. Y. Yeh (Eds.), Chinese-Language film: Historiography, poetics, politics (pp. 1-24). Honolulu: University of Hawaii Press.
Lu, T. (2002). Confronting modernity in the cinemas of Taiwan and Mainland China.
Cambridge, New York: Cambridge University Press.
Lyons T. J. (1979). Glossary of film terms. The University Film Association.
Lyotard, J. F. (1984). The postmodern condition: A report on knowledge (G.
Bennington & B. Massumi, Trans). Minneapolis : University of Minnesota Press.
Ma, N. (1994). Spatial and subjectivity in Xie Jin’s film melodrama of the new period.
In N. Browne, P. G. Pickowicz, V. Sobchack & E. Yau (Eds), New Chinese cinemas: Forms, identities, politics (pp. 15-39). Cambridge, New York, Melbourne: Cambridge University Press.
McClintock, A. (1995). Imperial leather: Race, gender, and sexuality in the colonial contest. New York: Routledge.
Montrose, L. A. (1992). New historicisms. In S.Greenblatt & G.Gunn (Eds), Redrawing the boundaries: The transformation of English and American literary studies (pp. 392-418). New York: Modern Language Association of America.
Pickowicz, P. (1993). Melodramatic representation and the 'May Fourth' tradition of Chinese cinema. In E. Widmer and D. D-W. Wang (Eds.), From May Fourth to June Fourth -- Fiction and film in twentieth century China (pp. 295-326).
Cambridge: Harvard University Press
Popper, K. R. (1966). The open society and its enemies (vol.2). Princeton: Princeton University Press.
Popper, K. R. (1960). The poverty of historicism. London : Routledge & Kegan.
Roberts D. D. (1995). Nothing but history: Reconstruction and extremity after metaphysics. Berkeley: University of California Press.
Rosenstone R. A. (2000). Oliver Stone as historian. In R. Toplin (Ed.), Oliver Stone’s USA: Film, history, and controversy (pp. 26-39). Lawrence: University of Kansas Press.
Rosenstone, R. A. (1988). History in images/history in words: Reflections on the possibility of really putting history onto film. The American historical review, 93(5), 1173-1185.
Trinh, T. M-h. (1991). When the Moon Waxes Red: Representation, Gender, And Cultural Politics. New York: Routledge.
Tu, W-m. (1994a). Preface. In W-m. Tu (Ed.), The living tree: The changing meaning of being Chinese today (pp. v-x). Stanford: Stanford University Press.
Tu, W-m. (1994b). Cultural China: The periphery as the center In W-m.Tu (Ed.), The living tree: The changing meaning of being Chinese today (pp. 1-34). Stanford:
Stanford University Press.
Wang, B. (2004). Illuminations from the past: Trauma, memory, and history in modern China. Stanford: Stanford University Press.
White, H. (1989). New historicism: A comment. In H. A. Vesser (Ed.), The new historicism (pp. 293-302). New York and London: Routledge.
White, H. (1988). Historiography and historiophoty. The American Historical Review, 93(5), 1193-1199.
White, H. (1973). Metahistory: The historical imagination in nineteenth-century Europe. Baltimore: Johns Hopkins University Press.
Williams, R. (1989). Resources of hope: Culture, democracy, socialism. London, New York: Verso.
Wolin, R. (1982). Walter Benjamin, an aesthetic of redemption. New York: Columbia University Press.
Xu, B. (1999). Disenchanted democracy: Chinese cultural criticism after 1989. Ann Arbor: University of Michigan Press.
Xu, G. G. (2007). Sinascape: Contemporary Chinese cinema. Lanham: Rowman &
Littlefield.
Yang, G. (2003). China's Zhiqing generation: Nostalgia, identity and cultural resistance in the 1990s. Modern China 29(3), 267-296.
Yue, M-B. (2005). Nostalgia for the future: Cultural revolution memory in two transnational Chinese narratives. China Review 5(2), 43-63.
Zha, J. (1994). Chen Kaige and the shadows of the revolution. Sight and Sound 4(2),
28-36.
Zhang, X. (2003). National trauma, global allegory: reconstruction of collective memory in Tian Zhuangzhuang’s The Blue Kite. Journal of Contemporary China 12(37), 623-638.
Zhang, X. (1997). Chinese modernism in the era of reforms: Cultural fever, avant-garde fiction, and the new Chinese cinema. Durham and London: Duke University Press.
Zhang, Y. (2004). Chinese national cinema. London, New York: Routledge.
Zhu, Y. (2003). Chinese cinema during the era of reform: The ingenuity of the system.
Westport: Praeger.