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|Title:||1950 年代新加坡福建戏曲电影《醉打金枝》研究 = A study on Taming of the Princess : a Singapore Amoy-dialect film in the 1950s||Authors:||江欣如 Kang, Brenda Sin Joo||Keywords:||DRNTU::Humanities||Issue Date:||2016||Abstract:||《醉打金枝》（简称为《醉》）是曾经流行于中国广东地区的民间文学。由于在二十世纪受到新马民众所喜爱，徐焦明导演结合了当时流行于新马的福建戏，把《打金枝》的故事搬上了新加坡的银幕，使《醉》成了 1950 年代风靡一时的福建戏曲电影。电影的内容虽然取材于唐代历史典故，但该片在取景、演员和语言选用方面却皆为本土化，体现的是新加坡福建文化圈的独特性。然而，笔者发现，从福建戏到戏曲电影的转变，虽试图推动福建文化的发展，但其视觉文化的转向却使福建族群的认同逐渐迈向文化危机。为此，本论文除了探讨视觉文化与福建族群之间的关系，也将采访新加坡筱麒麟剧团团长刘虎臣与筱金枝夫妇以及新马史料收藏者许永顺先生，以便了解《醉》在新加坡社会的兴衰起伏。最后，在西方文化的影响之下，本论文希望借由《醉》以探索福建文化的现代社会意义与价值。Taming of the Princess, was based on a popular folk story in the area of Guangdong Province. As it was well-liked by the people of Malaya region, it was later made into an opera film which sparked off a trend of Amoy-dialect (Hokkien) films in the fifties and sixties. Although the storyline were drawn from the historical allusions of the Tang Dynasty, the location, actors and language selection were all based on the aspects of Singapore, thus reflecting the unique nature of the Singapore Hokkien culture. The advancement from opera to opera films was created in hopes of promoting the development of Hokkien culture. Yet, this shift of visual culture, resulted in a cultural identity crisis in the ethnic group. Therefore, this dissertation aims to analyze the relationship between visual culture and the Hokkien ethnic group. The author interviewed Mr. Liu Hu Chen and Mdm. Xiao Jin Zhi from the local Xiao Kee Lin Opera Troupe, as well as Mr. Koh Eng Soon, a historical collector of Singapore and Malaysia, to share their knowledge on the development of the film in Singapore. Lastly, under the influence of Western culture, this dissertation wishes to explore the modern significance and value of Hokkien culture in today’s society.||URI:||http://hdl.handle.net/10356/66083||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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