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研究生:周源潔
研究生(外文):Yuan-jie Chou
論文名稱:解讀恐怖片:談《半夜鬼上床》系列之心理分析
論文名稱(外文):On Horror Films: A Psychoanalytic Approach on A Nightmare on Elm Street Series
指導教授:陳明媚陳明媚引用關係
指導教授(外文):Ming-May Jessie Chen
學位類別:碩士
校院名稱:靜宜大學
系所名稱:英國語文學系研究所
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2006
畢業學年度:94
語文別:英文
論文頁數:92
中文關鍵詞:佛洛伊德夢的解析神話原型榮格恐怖片心理分析
外文關鍵詞:Horror FilmPsychoanalysisArchetypeMythDream InterpretationJungFreud
相關次數:
  • 被引用被引用:3
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  • 下載下載:220
  • 收藏至我的研究室書目清單書目收藏:2
低成本的恐怖片大多充斥著血腥暴力及人性的黑暗面,所以即使受到廣大觀眾的歡迎,但始終被定位為膚淺低俗的商業片。自從佛洛伊德 (Sigmund Freud)將心理分析及榮格 (C.G.. Jung)原型理論套用在神話學及文學領域之後,觸角敏銳的學者及流行文化觀察家都不約而同的解剖起恐怖片。除了家喻戶曉的《驚魂記》 Psycho(1960)外,其中最值得一提的即是由衛斯.克文 (Wes Craven)一手所打造出以夢為主題的《半夜鬼上床系列》(A Nightmare on Elm Street Series)並創造出它自己的夢靨王國。反映出人類內心對夢及自己的好奇與恐懼,也利用許多神話中的原型來展現出許多無法在日常生活中與人侃侃而談,卻又切身相關的社會禁忌。所以《新聞週刊》(Newsweek)說虛構的恐片照出人的真實世界。
本篇論文共分為四章。第一章說明論文的研究動機與方向,藉由參考文獻資料來支持相關議題及論點。第二章分析出恐怖片所組成的元素以及它的敘述方法。第三章以心理分析,解析出在恐怖片中所呈現的真實人性以及神話中的原型和象徵符號的寓意。進而分析出《半夜鬼上床系列》文本中之神話及心理分析理論的共通性與其文化意義及價值。第四章總結所有相關論點及議題,提出另一種思維空間讓人們逆向思考,事實上鄙俗的恐怖片並不單單表現出性、暴力、以及血腥層面。相反地,它呈現出現代社會的文化意義,反應出人性中壓抑於內心深處的慾望及恐懼,並提供人性中的正面的力量與之對抗。
Because horror films full of topics on sex and violence, they have been classified as superficial, low-class commercial without any artistic and cultural values, regardless their popularity among audience. When Sigmund Freud examined the incest problem in Oedipus the King, C.G. Jung later applied archetypal theory into mythologies and literature. Since then, acute critics and researchers of popular culture have adopted the notions of psychoanalysis and archetypes to horror film genre, particularly in dream-oriented horror films such as A Nightmare on Elm Street Series (1984-1994). Based on his own experiences and knowledge of dreams and psychoanalysis, the director and writer, Wes Craven, creates a Freddy’s Nightmare Kingdom whereas not only shows people’s curiosity and fear toward their dreams and themselves but also reveal social taboos and inner desire which have been forbidden to talk about.
There are four chapters in the thesis. Chapter One explains the motivation and major direction of the research which include theoretical approaches, literature reviews, research questions and some other relevant issues and arguments concerning horror films. Chapter Two examines the essences and elements of horror in A Nightmare on Elm Street Series. Chapter Three shall apply the theories of psychoanalysis, archetypes, and myths to A Nightmare on Elm Street series. Chapter Four summarizes all relevant issues and viewpoints, indicating another alternative thought to inspire people to rethink the significance of horror films.
Chinese Abstract........iii
English Abstract ........iv
Dedication ........vi
Acknowledgements........vii
Table of Contents........ viii

Chapter I Introduction........ 1
1. Statement of Problem ........ 1
2. Theoretical Approaches........7
Chapter II Horror Films and A Nightmare on Elm Street
Series........10
1. The Myth of Final Girl........12
The Narrative Structures of Hero’s Journey......12
The Eleven-Stage Journey of Final Girl........15
2. The Nature of Horror Films........25
Abjection as Horror........25
Taboo as Horror........30
Chapter III Psychoanalysis, Myth and A Nightmare on Elm
Street Series........34
1. Day Residue and Wish Fulfillment........36
2. Representations of Archetypal Images and
Symbols........42
3. The Nature of Myth........66
4. A Nightmare on Elm Street Series as
Contemporary Myth........72
Chapter IV Conclusion........78
1. The Fictional Horror Films as Realistic
Reflection of Life........78
2. Films are Dreams; Dreamsare Us........81
Works Cited........85
Works Cited

Books:
Abrams M.H. A Glossary of Literary Terms. USA: Harcourt Brace College Publishers, 1985.
Bettlelheim, Bruno. The Use of Enchantment: The Meaning and Importance of Fairy Tales. 1975. New York: Random House, 1989.
Barthes, Roland. Mythologies. 1957. New York: Hall and Wang, 1979.
Campbell, Joseph. The Hero with Thousand Faces. 1949. New York: Princeton University, 1973.
Christopher, Hauke, and Ian Alister. Jung and Film: Post Jungian Takes on the Moving Image. USA: Routledge. 2001.
Clover, Carol J. Men, Woman, and Chainsaws: Gender in the Modern Horror Film. Princeton, New Jersey: Princeton University,1992.
---. “Her Body, Herself: Gender in the Slasher Film.” Screening Violence. New Brunswick, New Jersey: Rutgers University Press, 2000.
Coates, Paul. The Gorgon Gaze: German Cinema, Expressionism, and the Image of Horror. New York: Cambridge University, 1953.
Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993.
Edinger, Edward F. Ego and Archetype: Individuation and the Religious Function of the Psyche. New York: Putman, 1972.
Eliot, Alexander. The Global Myths: Exploring Primitive, Pagan, Sacred, and Scientific Mythologies. New York: Truman Talley Bppks/Meridian, 1994.
Fontana, David. The Secret Language of Symbols: A Visual Key to Symbols and Their Meanings. US: Chronicle, 1994.
Freud, Sigmund. An Outline of Psycho-Analysis. 1949. New York: Norton, 1989.
---. Civilization and its Discontents. 1961. New York: Norton, 1989.
---. The Interpretation of Dreams. 1965. New York: Avon Books, 1998.
---. The Ego and the Id. 1960. New York: Norton, 1989.
---. New Introductory Lectures on Psycho-Analysis.1933. New York: Norton,1989.
---. Totem and Taboo: Some Points of Agreement between the Mental Lives of Savages and Neurotics. 1950. New York: Norton, 1989.
Fromm, Erich. The Forgotten Language: An Introduction on the Understanding of Dreams, Fairy Tales and Myths. New York: Grove Press, 1951.
Fuery, Patrick. Madness and Cinema: Psychoanalysis, Spectatorship and Culture. New York: Palgrave Macmillan, 2004.
Indick, William. Movies and Mind: Theories of the Great Psychoanalysts Applied to Film. North Carolina: McFarland & Company Inc, 2004.
---. Psychology for Screen Writers; Building Conflict in Your Script. USA: McNaughton & Gunn, 1971.
Jung, C.G., Four Archetypes: Mother/Rebirth/Spirit/Trickster. USA: Princeton, 1970.
---, ed. Man and His Symbols. 1964. USA: Dell, 1968.
---. The Archetypes and the Collective Unconscious. 1959. USA: Princeton University, 1990.
---. Approaching the Unconsciousness. 1964. Ed. C.G. Jung and M.L.Franz. USA: Random House, 1968.
---. Psyche and Symbol. N.Y.: Doubleday, 1958.
Kaplan, E.Ann, Ed. Psychoanalysis &Cinema. New York: Routledge, 1990.
Kirk, G.S. The Nature of Greek Myths. 1974. London: Penguin, 1990.
Kleinpaul, R. Die Lebendigen und die Toten in Volksglauben, Religion und Sage, Leipzig. 1898.
Klossner, Michael. Horror, Fantasy and Animation in Film, Television and Radio. Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, TV, Radio, and the Internet. Ed. Neil, Barron. USA: Scarecrow Press, 1999.
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. New York: Princeton, 1974.
Kristeva, Julia. Powers of Horror: An Essay on Abjection. New York:
Columbia University Press, 1982.
Lacan, Jacques. Ecrits: A Selection. London: Routledge, 2003.
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Muir, John Kenneth. Wes Craven: The Art of Horror. North Carolina: McFarland & Company Inc, 2004.
“Myth.” Def. 177. The Oxford English Dictionary. 2nd. 1989.
Noel, Carroll. The Philosophy of Horror or Paradoxes of the Heart. New York: Routledge,1990.
Picart, Caroline Joan S.. Remaking the Frankenstein Myth on Film: Between Laughter and Horror. Albany: State University of New York Press, 2003.
Prince, Stephen. Graphic Violence in the Cinema. Screening Violence. Ed. Stephen Prince. New Brunswick, New Jersey: Rutgers University Press, 2000.
Raglan, Lord.
Robb, Brian J., Scream and Nightmares. The Film of Wes Craven. Overlook
TP, 2000.
Thompson, J. Eric S. The Rise and Fall of Maya Civilization. USA: University
of Oklahoma, 1954.
Vogler, Christopher. The Writer’s Journey: Mythic Structure. New York: Columbia University Press, 1982.
Walker, Steven S. Jung and Jungian on Myths. New York: Routledge, 2002.
Strauss, Levi. The Savage Mind: Nature of Human Society. USA: Chicago University, 1998.
Wundt, W. Elements of Folk Psychology, New York and London, 1916.
“Weapon.” Def. 3600. New Shorter Oxford English Dictionary. 5th ed. 2002.

Periodicals/ Journals:
Asen, David. “Bloody Good Flicks.” Newsweek 3 Apr 2006: 62.
Bulkeley, Kelly. “Touring the Dream Factory: The Dream-Film Connection in The Wizard of Oz and A Nightmare on the Elm Street.’ Dreaming 9. 1(1999): 101-9.
Benshoff, Harry M. “Blaxploitation Horror Films: Generic Reappropriation or Reinscription?” Cinema Journal 39. 2 (2000): 31-50.
Cocks, Geoffrey. Dream Machine: Psychoanalysis, Film, and History. “ Annual of Psychoanalysis 3 (2003): 35-41.
Gehring, Wes. “Frankenstein and Friends.” USA Today Sep. 1999: 68.
Gorden, Devin. “Horror Shows.” Newsweek 3 Apr. 2006: 60-62.
Hallberstam, Judith. “Imagined Violence/Queer Violence: Representation, Rage, and Resistance.” Social Text 37 (1993): 187-201.
Ingebretsen, Edward J. “Monster-Making: A Politics of Persuasion.” Journal of American Culture 21.2 (1998): 25-35.
Lippmann, Paul. “Dream, Psychoanalysis and Virtuality: The Ancient Mind in the Modern World.” Int Forum Psychoanal 12 (2003): 227-33.
Markovitz, Jonathan. “Female Paranoia as Survival Skill: Reason or Pathology in A Nightmare on Elm Street.” Quarterly Review of Film & Video 17. 3 (2000): 211-20.
New Aduent 2003. Maurice M. Hassette. 2005.6 October
<http://www.newadvent.org/cathen/08755b.htm>
A Nightmare on Elm Street Articles and Interviews
<http://nightmareonelmstreetfilms.com/nightmareinterviewswesandsequels.html>
Scott Diffrient, David. “Narrative Morality: The ’Fragmegrated’ Corpse of the Horror Anthology Film.” Paradoxa 17(2002): 271-301.
Siskel, Gene, and Roger Ebert. “Chi Tribune Blasts Gory X-Films in R-Rated Clothing,” Variety 12 November 1980.

Films:
Campbell, Joseph. Interviewed with Bill Moyer. Joseph Campbell and the Power of Myth. New York: Mystic Fire Video, 2001.
The Exorcism of Emily Rose. Dir. Scott Derrickson. Perf. Laura Linney, Tom Wilkinson, and Campbell Scott. 2005. Sony Pictures, 2005.
Freddy''s Dead: The Final Nightmare. Dir. Rachel Talalay. Perf. Lezlie Deane, Lisa Zane, Robert Englund. 1991. New Line Cinema, 2000.
Friday the Thirteen. Dir. Sean S. Cunningham. Perf. Betsy Palmer, Adrienne King, and Harry Crosby. 1980. DVD. Paramount Pictures, 1999.
The Grudge. Dir. Takashi Shimizu. Perf. Sarah Michelle Gellar, Jason Behr, and William Mapother. 2004. Sony Picture, 2005.
Halloween H2O. Dir. Steven Miner. Perf. Jamie Lee Curtis, Josh Hartnett, and Adam Arkin. 1998. Dimension, 1999.
A Nightmare on Elm Street. Dir. Wes Craven. Perf. Heather Langenkamp, Johnny Depp, Robert Englund. 1984. New Line Cinema, 1999.
A Nightmare on Elm Street 2: Freddy''s Revenge. Dir. Jack Sholder. Perf. Kim Mayer, Mark Patton, Robert Englund. 1985. DVD. New Line Cinema, 2000.
A Nightmare on Elm Street 3: Dream Warriors. Dir. Chuck Russell. Perf. Heather Langenkamp, Patricia Arquette, Robert Englund. 1987. New Line Cinema, 1999.
A Nightmare on Elm Street 4: The Dream Master. Dir. Renny Harlin. Pref. Lisa Wilcox, Rodney Eastman, and Robert Englund. 1988. New Line Cinema, 2000.
A Nightmare on Elm Street 5: The Dream Child. Dir. Stephen Hopkins. Perf. Erika Anderson, Lisa Wilcox, Robert Englund. 1989. New Line Cinema, 1999.
Psycho. Dir. Alfred Hitchcock. Perf. Anthony Perkins, Janet Leigh, Vera Miles. 1960. Universal City Studios, 1998.
Red Dragon. Dir. Brett Ratner. Perf. Anthony Hopkins, Edward Norton. 2002
Universal Studio, 2003.
The Ring. Dir. Gore Verbinski. Perf. Naomi Watts, Martin Henderson, and Brian Cox. 2002. Dream Works, 2003.
Scream. Dir. Wes Craven. Perf. David Arquette, Nave Campbell, and Courteney Cox. 1996. Walt Disney, 1997.
The Texas Chainsaw Massacre. Dir. Marcus Nispel. Perf. Jessica Biel, Jonathan Tucker, and Erica Leerhsen. 2003. New Line Cinema, 2004.
The Wizard of Oz. Dir. Victor Fleming. Perf. Judy Garland, Frank Morgan, Ray Bolger. 1919. MGM/UA Home Video, 1939.
Wes Craven’s New Nightmare. Dir. Wes Craven. Perf. Heather Langenkamp, Miko Hughes, Robert Englund, Wes Craven. 1994. New line Cinema, 2000.
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