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作者:宋怡德
作者(外文):I-Te Sung
論文名稱:作勢反叛: 亡命鴛鴦電影與六十年代反文化的批判
論文名稱(外文):Rebel Postures: Outlaw Couple Films and the Critique of the Sixties’ Counterculture
指導教授:白瑞梅
指導教授(外文):Amie Parry
學位類別:碩士
校院名稱:國立中央大學
系所名稱:英美語文學系
舊系所名稱:英美語文學研究所
學號:89122001
畢業學年度:91
語文別:英文
論文頁數:85
中文關鍵詞:窮山惡水我倆沒有明天反文化六十年代亡命鴛鴦電影花村反叛
外文關鍵詞:BadlandsMcCabe and Mrs. Millerthe systemthe peoplerebel posturesoutlaw couple filmsthe sixtiescountercultureBonnie and Clyde
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本論文分析三部亡命鴛鴦電影:我倆沒有明天、窮山惡水及花村,如何反映對當時六十年代反文化的批判,並且探討其如何試圖解決和統治階層和一般人民之間的矛盾困境。
This thesis analyzes three outlaw couple films of the late sixties and early seventies: Bonnie and Clyde, Badlands, and McCabe & Mrs. Miller. By doing so, it intends to contribute to the understanding of how outlaw couple films carry the sociopolitical critique to reflect the exhilarations and anxieties of its times; moreover, how they manage to resolve the quandary that they are facing in their relationship with the people and the dominant order. I argue that Bonnie and Clyde helps seal the myth of the outlaw couple by making their death into a long-lasting artwork. For the chapter on Badlands, it suggests that not only for the counterculture, but also counterrevolution are prone to become superficial consumptions of existing icons and rituals. For the chapter on McCabe & Mrs. Miller, it demonstrates the counterculture’s dilemma to destruct the System and at the same time, the distrust between the people and the countercultural rebels, which reflects the counterculture’s failure. At last, it aims to suggest their influence on later outlaw couple films in the early nineties.
Abstract
Acknowledgments
Introduction …………………………………………………………………………...1
Chapter One
Public Posturing as Stylistic Rebellion in Bonnie and Clyde….………………………………………………….……………………………8
Chapter Two
Consuming Rebellion: The Portrait of an Impersonating Outlaw in Badlands…..………………………………………………………………………….29
Chapter Three
Commercializing the West: Individualism and the People.………………………………………………………………………………..50
Conclusion …………………………………………………………………………...69
Works Cited…………………………………………………………………………..79
Filmography………………………………………………………………………….82
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