從《囧男孩》的互文性看台灣兒童電影的地景與兒童
By viewing the intertextuality of “Orz Boyz” to explore the landscapes and children in Taiwan children’s films.

黃婉青

本文以 2008 年電影《囧男孩》的互文性作為軸心：內部分析王爾德的〈快樂王子〉、格林童話〈斑衣吹笛人〉兩則童話文本；外部指向 1995 年的《熱帶魚》、1984 年的《冬冬的假期》。串起每隔約略十年的三部台灣兒童電影時間脈絡，分析其中的地景再現與兒童形象。 研究發現，創作者再現的台北城市內部、台灣城鄉之間，關係發生轉變；行動其上的兒童形象，則充滿當代對兒童的概念建構。兒童電影的形式風格，在新電影時期之後，則既有承繼，也有突破。

This article regards the intertextuality of the movie “Orz Boyz” in 2008 as the axis. From the interior, analyzing two fairy tales: Oscar Wilde’s “Happy Prince” and Grimm’s Fairy Tales “The Pied Piper of Hamelin”; from the exterior, referring to the “Tropical Fish” in 1995 and “ A Summer at Grandpa’s” in 1984. In this way, a time axis behind three Taiwan children’s films will be connected together and I will try to analyze the landscape representation and children image from the movies.

The result shows that the interior Taipei and the relationship between cities and countryside which be seen from the creators’ representation have changed. The Children’s images which are on the landscape are full of the contemporary conceptual construction. After Taiwanese New Cinema, the form and style of Children’s film has not only followed but changed.

互文、兒童電影、地景、囧男孩、熱帶魚、冬冬的假期

intertextuality, children’s films, landscape, Orz Boyz, Tropical Fish, A Summer at Grandpa’s

2011-07-05

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從《囧男孩》的互文性看台灣兒童電影的地景與兒童.pdf