英文摘要 |
As a film genre devised both to reflect social realities andto promote moral values, healthy realism was introduced into theTaiwanese cinema scene by the Central Motion Picture Corporation (CMPC) in 1963. Since then, an issue that remainsan academic conundrum for the scholars of this type of film iswhether and how screen adaptations of Qiong Yao’s novels by filmmakers working in the healthy realism genre fit into themodel. This paper seeks to enter the debate by revisiting thegeneric features of healthy realism and reassess the role playedby romantic love in this style of movie. The first part of thispaper revisits the definition of “healthy realism,” analyzing whythe genre remains within the scope of realism despite its intended
as government propaganda, and explores the effects of romuseantic melodrama in achieving the realist aim of the model. The second part of the paper features analyses of the plots ofOyster Girl and Four Loves with the intention of discerning themotive force of the society of which healthy realism films sought to treat, an undertaking which leads to the discovery that romantic love is an essential element of healthy realism when itserves as the affective condition for bio-power and thus supportsthe modernization efforts described by the film model. The reliance on melodramatic devices and the significance of romantic love to the underlying social relations pave the way forthe entry of Qiong Yao’s romance into the healthy realism genre. |