以現代電影表現手法探討小津安二郎的現代性──以《晚春》和《東京物語》為中心

The Exploration of the Modern Cinema Presentation Centered on the Ozu Yasujiro's Late Spring and Tokyo Story

本文旨要探討小津安二郎（Ozu Yasujiro，1903-1963）的獨特鏡頭，透過文獻分析法，以摘錄德勒茲（Gilles Deleuze，1925-1995）在《電影2：時間影像》的論述，探究對於現代電影的表現手法，再對於《晚春》與《東京物語》影像的分析，歸納出有別於古典電影，小津所具有的現代電影特質。本文從現代電影的三個面向切入討論。第一，著重於現代電影所拋棄的感覺運動模式的特質，比較出現代電影鬆散的、零碎且片斷的、對敘事無幫助的鏡頭。第二，討論現代電影的日常性。第三，探討以現代電影回歸到影像本質，和小津的視覺影像以及閒逛的形式作比較。

The thesis is to explore Ozu’s unique shot, cited Deleuze’s Cinema 2: The Time-Image with literature analysis. Study the modern cinema how to express, and the film of Late Spring and Tokyo Story to generalize the difference between the classical and modern cinema. The research includes three perspectives. First, it focuses on the properties of the modern cinemabeyond the movement-image, and compare to the shot of loosening, trivia, and no help for narration. Second, it analyzes the daily life of the modern cinema. Third, it discusses the modern cinema return to cinema’s nature and contrast with Ozu’s purely visual image and trip/ballad form.