跳到主要內容

臺灣博碩士論文加值系統

(35.172.136.29) 您好!臺灣時間:2021/07/25 01:29
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

: 
twitterline
研究生:侯青青
研究生(外文):Hou, Chingching
論文名稱:論康拉德‧沃爾夫《我十九歲》中疆界之挑戰
論文名稱(外文):Boundaries Challenged in Konrad Wolf’s I Was Nineteen
指導教授:魏安竹
指導教授(外文):Andrew Wilson
口試委員:羅林游明正
口試委員(外文):J. Barton RollinsYu, Mingcheng
口試日期:2012-07-24
學位類別:碩士
校院名稱:國立中正大學
系所名稱:外國語文研究所
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:2012
畢業學年度:100
語文別:英文
論文頁數:86
中文關鍵詞:康拉德‧沃爾夫《我十九歲》德國電影二戰電影
外文關鍵詞:Konrad WolfI Was Nineteen (Ich war neunzehn 1968)German cinemaWorld War II cinema
相關次數:
  • 被引用被引用:0
  • 點閱點閱:192
  • 評分評分:
  • 下載下載:9
  • 收藏至我的研究室書目清單書目收藏:0
在導演康拉德‧沃爾夫的電影《我十九歲》中,主角格雷‧戈爾赫克,一名德裔的俄羅斯士兵,其雙重身分不斷挑戰「朋友」與「敵人」在戰爭之中的定義。格雷在二戰結束前夕回到德國,並於俄軍初期的偵察任務期間擔任翻譯與外交官。每當身著俄軍制服的他開口說德語或是表明德裔背景,便隨即顯現其身分的衝突與矛盾。本論文將探討軍服與國語[國家語言]在此電影中的使用-作為視覺化國家疆界的工具-反映出個人對於國家認同的不穩定性。結合東德戰爭論述[偏重二戰]與電影呈現技巧,本文藉著討論格雷的混合[雙重/多重]身分來分析《我十九歲》中兩敵對國家的疆界跨越。
Gregor Hecker in Konrad Wolf’s I Was Nineteen (Ich war neunzehn 1968) constantly challenges the boundaries of friendship/enemies in warfare. The protagonist, a German-born Russian soldier, returns to Germany as initial takeover dispatcher during the last few days of WWII, mainly serving as a translator and a diplomatic negotiator to hail surrender. Not only does his pacifist mission create confusion, so does too his bilingual ability, which often indirectly introduces Gregor’s conflicting dual identity, at least in a political sense. His contradiction is often spotted when referring to himself as a German-speaking German but dressing in Russian uniform in propaganda corps. In mapping out encounters and key situations with his German countrymen, I argue that in this film uniforms and languages are used to determine the instability of national identity. His conflicting inner/outer self usually incurs disqualification of being either German or Russian. Utilized as tropes, which is supported by Marshall McLuhan’s principles of standardization in constructing a modern nation state, the uniforms and the languages (German/Russian) here visualize the national boundary under national conflicts. In this thesis, in a conjunction of national war narratives of East Germany and cinematic representation strategies, I analyze how the mixed identity smoothes the break/boundary set between two antagonistic nations.

INTRODUCTION 1
CHAPTER ONE Identity Construction & Failure 8
1.1 On Language 8
1.2 On Uniform 16
1.2.1 The Uniform as Identity 16
1.2.2 Uniformed Identity 21
1.2.3 Uniform as Cinematic Techniques 24
1.3 Masculinity Loss in the 1940s and 1960s 32
1.4 Fetishism 39
CHAPTER TWO Alignments 46
2.1 Alignments of Terror 46
2.2 Alignment Mode 55
2.3 Alignments in Spandau Fortress 59
CONCLUSION 71
WORKS CITED 74
APPENDIX A 78
APPENDIX B 79

English Sources:
Allan, Seán. “DEFA: An Historical Overview.” DEFA : East German Cinema, 1946-1992. Ed. Seán Allan and John Sandford. NY: Berghahn, 1999. 1-21. Print.
Anderson, Benedict. Imagined Communities. NY: Verso, 1983. Print.
Apocalypse Now Redux. Dir. Francis Ford Coppola. Lionsgate, 2010. Film.
Band of Brothers: The Complete First Season. Dir. Tom Hanks and Steven Spielberg. HBO Home Video, 2001. Television.
Battle of Algiers [La battaglia di Algeri]. Dir. Gillo Pontecorvo. Igor Film, 1966. Film.
Berghahn. Daniela. Hollywood Behind the Wall: The Cinema of East Germany. Manchester: Manchester UP, 2005. Print.
Boa, Elizabeth and Rachel Palfreyman. “Introduction: Mapping the Terrain.”Heimat: A German Dream : Regional Loyalties and National Identity in German Culture, 1890-1990. NY: Oxford UP, 2000. 1-29. Print.
Bock, Hans-Michael. “East Germany: The DEFA Story.” The Oxford History of World Cinema. Ed. Geoffrey Nowell-Smith. NY: Oxford UP, 1997. 627-31. Print.
Butler, Judith. “Violence, Mourning, Politics.” Precarious Life the Power of Mourning and Violence. NY: Verso, 2004. 19-49. Print.
Byg, Barton. “DEFA and The Traditions of Internal Cinema.” DEFA : East German Cinema, 1946-1992. Ed. Seán Allan and John Sandford. NY: Berghahn, 1999. 22-41. Print.
Coulson, Anthony.“Paths of Discovery: The Films of Konrad Wolf.” DEFA : East German Cinema, 1946-1992. Ed. Seán Allan and John Sandford. NY: Berghahn, 1999. 164-82. Print.
Craik, Jennifer. “From Military Uniforms to Codified Civility.” Uniform Exposed. NY: Berg, 2005. 21-50. Print.
Dyer, Richard. “The Light of the World.” White. NY: Routledge, 1997. 82-144.
Elsaesser, Thomas and Michael Wedel. “Defining DEFA’s Historical Imaginary.” European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam UP, 2005. 325-41. Print.
Grossmann, Anita. “Victims, Villains, and Survivors: Gendered Perceptions and Self-Perceptions of Jewish Displaced Persons in Occupied Postwar Germany.” Sexuality and German Fascism. Ed. Dagmar Herzog. NY: Berghahn Books, 2005. 291-310. Print.
Hake, Sabine. “East German Cinema 1961-90.” German National Cinema. London: Routledge, 2002. 127-52. Print.
Hayward, Susan. “deep focus/depth of field.” Cinema Studies: The Key Concepts. London: Routledge, 2000. 81-82. Print.
Heller, Ágnes. “Who Am I? Dressing Up. Stripping Naked.” The Time Is Out of Joint: Shakespeare As Philosopher of History. Lanham: Rowman & Littlefield, 2002. 33-56. Print.
Hu-Dehart, Evelyn. Introduction. Across The Pacific: Asian Americans and Globalization. By Hu-Dehart. Philadelphia: Temple UP, 1999. 1-28. Print.
I Was Nineteen [Ich war neunzehn]. Anti-Nazi Classics. Dir. Konrad Wolf. First Run Features, 2011. DVD.
Kaes, Anton. “Germany as Memory.” From Hitler to Heimat: The Return of History as Film. Massachusetts: First Harvard UP, 1992. 162-92. Print.
Kelly, Andrew. “The French Cinema and The War.” Cinema and the Great War. Abingdon: Routledge, 1997. 101-27. Print.
Koch, Gertrud. “On the Disappearance of the Dead among the Living: The Holocaust and the Confusion of Identities in the Films of Konrad Wolf.” New German Critique 60. (Autumn 1993): 57-75. Print.
Leffler, Melvyn and David Painter. Forward. “The Russians in Germany.” Origins of the Cold War: An International History. By Leffler and Painter. NY: Routledge, 1994. 179. Print.
Mackay, Marina. “World War II, the Welfare State, and Postwar ‘Humanism.’” The Cambridge Companion to the Twentieth-Century English Novel. Ed. Robert Caserio. Cambridge UP, 2009. 146-62. Print.
McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: U of Toronto P, 1962. Print.
Metz, Christian. “Disavowal, Fetishism.” The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti. London: Macmillan, 1983. 69-77. Print.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 833-44. Print.
Naimark, Norman. “The Russians in Germany.” Origins of the Cold War: An International History. Ed. Melvyn Leffler and David Painter. NY: Routledge, 1994. 179-189. Print.
Naughton, Leonie. “Film Production at DEFA Studios.” That Was the Wild East: Film Culture, Unification, and the “New” Germany. Ann Arbor: Michigan UP, 2002. 23-44. Print.
Pinkert, Anke. Film and Memory in East Germany. Bloomington: Indiana UP, 2007. Print.
Silberman, Marc. “The Authenticity of Autobiography: Konrad Wolf’s I Was Nineteen.” German Cinema: Texts in Context. Detroit: Wayne State UP, 1995. 145-61. Print.
---. “Remembering History: The Filmmaker Konrad Wolf.” New German Critique 49. (Winter 1990): 163-190. Print.
Shakespeare, William. King Henry V. Ed. J. H. Walter. London: Methuen, 1983. Print.
Shandley, Robert. “The Trouble with Rubble: DEFA’s Social Problem.” Rubble Films: German Cinema in the Shadow of the Third Reich. Philadelphia: Temple UP, 2001. 116-50. Print.
Skarstedt, Vance. “Uniform.” International Encyclopedia of Military History. Ed. James Bradford. NY: Routledge, 2006. 1315-20. Print.
Somewhere in Berlin [Irgendwo in Berlin]. Dir. Gerhard Lamprecht. DEFA, 1946. Film.
Stone, David. “Service and Field Service Uniform.” Hitler’s Army: The Men, Machines, and Organization: 1939-1945. Minnesota: Zenith Press, 2009. 111-12. Print.
The Deer Hunter. Dir. Michael Cimino. EMI, 1978. Film.
The Murderers are among Us [Die Mörder sind unter uns]. Dir. Wolfgang Staudte. Anti-Nazi Classics. First Run Features, 2011. DVD.
The Pianist. Dir. Roman Polanski. Focus Features, 2002. Film.
Wolf, Markus. Man Without A Face. NY: PublicAffairs, 1999. 22-36. Print.
Wyschogrod, Edith. Preface to The First Edition. Emmanuel Levinas: The Problem of Ethical Metaphysics. NY: Fordham UP, 2000. xxx.

German Sources:
I Was Nineteen [Ich war neunzehn]. Dir. Konrad Wolf. DEFA, 1968. Film.
Sun Seeker [Sonnensucher]. Dir. Konrad Wolf. DEFA, 1958/1972. Film.
Wolf, Konrad. Direkt in Kopf und Herz: Aufzeichnungen, Reden, Interviews. Ed. Aune Renk. Berlin: Henschelverlag Kunst und Gesellschaft, 1989. Print.
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
無相關論文
 
無相關期刊