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題名：蔡明亮與緩慢電影
作者：林松輝／譚以諾
作者(外文)：Lim, Song Hwee
出版日期：2016
出版項：臺北:國立臺灣大學出版中心
集叢：新人文叢書;2
ISBN：9789863501602
主題關鍵詞：蔡明亮；電影美學；影評；導演
學門：藝術學
資料類型：專書
相關次數：
  • 被引用次數被引用次數:期刊(6) 博士論文(0) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:6
  • 共同引用共同引用:0
  • 點閱點閱:14
期刊論文
1.Rapfogei, Jared(2004)。Taiwan's Poet of solitude: An Interview with Tsai Ming-Liang。Cineaste，29(4)，26-29。  new window
2.Brown, Bill(2001)。Thing Theory。Critical Inquiry，28(1)，1-22。  new window
3.Dercon, Chris(2002)。Gleaning the Future from the Gallery Floor。Vertigo，2(2)，3-5。  new window
4.Martin, Fran(2003)。The European Undead: Tsai Ming-liang's Temporal Dysphoria。Senses of Cinema，27。  new window
5.Bloom, Michelle E.(2005)。Contemporary Franco-Chinese Cinema: Translation, Citation and Imitation in Dai Sijie's Balzac and the Little Chinese Seamstress and Tsai Ming-Liang's What Time is it There?。Quarterly Review of Film and Video，22(4)，311-325。  new window
6.Chow, Rey(2001)。A Phantom Discipline。PMLA，116(5)，1386-1395。  new window
7.Hall, Stuart(1980)。Cultural Studies: Two Paradigms。Media, Culture, and Society，2(1)，57-72。  new window
8.Lee, Vivian(2007)。Pornography, Musical, Drag, and the Art Film: Performing Queer in Tsai Ming-liang's The Wayward Cloud。Journal of Chinese Cinemas，1(2)，117-137。  new window
9.Hong, Guo-Juin(2010)。Historiography of absence: Taiwan cinema before New Cinema 1982。Journal of Chinese Cinemas，4(1)，5-14。  new window
10.陳湘琪、洪祖玲(20050100)。影像創作經驗談--從「不散」出發。戲劇學刊，1，221-249。new window  延伸查詢new window
11.彭小妍(20100300)。《海角七號》：意外的成功？--回顧臺灣新電影。電影欣賞學刊，28(2)=142，124-136。new window  延伸查詢new window
12.Abbott, Jason(2001)。Vanquishing Banquo's Ghost: The Anwar Ibrahim Affair and its Impact on Malaysian Politics。Asian Studies Review，25(3)，285-308。  new window
13.Andrew, Dudley、Burnett, Colin(2007)。Susan Sontag and the Criticism of Cinema's Modernity: An Introduction。Post Script，26(2)，5-9。  new window
14.Ballard, Phil(2004)。In Search of Truth: Béla Tarr Interviewed。Kinoeye: New Perspectives on European Film，4(2)。  new window
15.Balsom, Erika(2007)。Saving the Image: Scale and Duration in Contemporary Art Cinema。CineAction，72，23-31。  new window
16.Bao, Weihong(2007)。Biomechanics of Love: Reinventing the Avant-garde in Tsai Ming-liang's Wayward 'Pornographic musical'。Journal of Chinese Cinemas，1(2)，139-160。  new window
17.Bordwell, David(1979)。The Art Cinema as a Mode of Film Practice。Film Criticism，4(1)，56-64。  new window
18.Clarke, Roger(2007)。The Incomplete Tsai Ming-liang。Sight & Sound，17(12)，24-26。  new window
19.Corbett, John、Kapsalis, Terri(1996)。Aural Sex: The Female Orgasm in Popular Sound。The Drama Review，40(3)，102-111。  new window
20.Davis, Bob(2002)。Composing with Color。American Cinematographer，991，30-32。  new window
21.James, Nick(2008)。New Crowned Despair。Sight & Sound，18(3)。  new window
22.James, Nick(2010)。Being Boring。Sight & Sound，20(7)。  new window
23.James, Nick(2010)。Passive Aggressive。Sight & Sound，20(4)。  new window
24.Keathley, Christian(2007)。Sontag and Cinephilia。Postscript，26(2)，72-80。  new window
25.Lim, Song Hwee(2007)。Positioning auteur theory in Chinese cinemas studies: intratextuality, intertextuality and paratextuality in the films of Tsai Ming-liang。Journal of Chinese Cinemas，1(3)，223-245。  new window
26.Lim, Song Hwee(2008)。"Slower Motion." Letter to the Editor。Sight & Sound，18(5)。  new window
27.Lim, Song Hwee(2011)。Manufacturing orgasm: Visuality, aurality and female sexual pleasure in Tsai Mingliang's The Wayward Cloud。Journal of Chinese Cinemas，5(2)，121-155。  new window
28.Lim, Song-Hwee、Hee, Wai-Siam(2011)。'You must believe there is an author behind every film': An interview with Tsai Ming-liang。Journal of Chinese Cinemas，5(2)，181-191。  new window
29.Martin, Adrian(1992)。Mise en scène is dead, or the expressive, the excessive, the technical and the stylish。Continuum，5(2)，87-140。  new window
30.Martin, Adrian(2007)。Black Box/White Cube: Cinema in the Gallery。Artlink，27(3)，36-38。  new window
31.Martin, Adrian(2010)。Slow Defence。Filmkrant，323。  new window
32.Matthews, Peter(2007)。The End of an Era: A Cinephile's Lament。Sight & Sound，17(10)，16-18。  new window
33.Michelson, Annette(1998)。Gnosis and Iconoclasm: A Case Study of Cinephilia。October，83，3-18。  new window
34.Neale, Steve(1981)。Art Cinema as Institution。Screen，22(1)，11-39。  new window
35.O'Rawe, Des(2006)。The Great Secret: Silence, Cinema and Modernism。Screen，47(4)，395-405。  new window
36.Read, Richard(2000)。Alienation, aesthetic distance and absorption in Tsai Mingliang's Vive L'Amour。New Formations，40，102-112。  new window
37.Romney, Jonathan(2007)。Back to the Future: A Cinephile's Response。Sight and Sound，17(11)，24-25。  new window
38.Romney, Jonathan(2010)。In Search of Lost Time。Sight and Sound，20(2)，43-44。  new window
39.Rothermel, Dennis(2009)。Slow Food, Slow Film。Quarterly Review of Film and Video，26(4)，265-279。  new window
40.Schoonover, Karl(2012)。Wastrels of Time: Slow Cinema's Laboring Body, the Political Spectator, and the Queer。Framework，53(1)，65-78。  new window
41.Sconce, Jeffrey(1995)。'Trashing' the academy: taste, excess, and an emerging politics of cinematic style。Screen，36(4)，371-393。  new window
42.Sontag, Susan(19960225)。The Decay of Cinema。The New York Times Magazine。  new window
43.Taylor, Greg(2007)。Approaching the Cinema of Silence。Post Script，26(2)，52-71。  new window
44.Toh, Hai Leong(1997)。Aspects of Chinese Cinema Today。Kinema: A Journal for Film and Audiovisual Media，1997(Spring)。  new window
45.Wang, Shujen、Fujiwara, Chris(2006)。'My Films Reflect My Living Situation': An Interview with Tsai Ming-Liang on Film Spaces, Audiences, and Distribution。Positions: East Asia Cultures Critique，14(1)，219-241。  new window
46.Williams, Phillip(20070203)。Shooting for an Alternate Reality。Movie Maker: The Art and Business of Making Movies。  new window
47.Mulvey, Laura(1975)。Visual Pleasure and Narrative Cinema。Screen，16(3)，6-19。  new window
48.Kraicer, Shelly(2000)。Interview with Tsai Ming-liang。Positions: East Asia Cultures Critique，8(2)，579-588。  new window
49.Leung, Helen Hok-sze(2001)。Queerscapes in Contemporary Hong Kong Cinema。Positions: East Asia Cultures Critique，9(2)，423-447。  new window
50.Rapfogel, Jared(2002)。Tsai Ming-Liang: Cinematic Painter。Senses of Cinema，20。  new window
51.Rosenbaum, Jonathan(1998)。Is Ozu Slow?。Senses of Cinema。  new window
52.Chan, Kenneth(2007)。Goodbye, Dragon Inn: Tsai Ming-liang's Political Aesthetics of Nostalgia Place, and Lingering。Journal of Chinese Cinemas，1(2)，89-103。  new window
研究報告
1.Government Information Office(2010)。臺北市首輪院線映演國產影片、港陸影片暨其他外片之票房歷史統計(1999-2009/04)。  延伸查詢new window
圖書
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2.Hong, Guo-Juin(2011)。Taiwan Cinema: A Contested Nation on Screen。Palgrave Macmillan。  new window
3.Wong, Cindy Hing-Yuk(2011)。Film Festivals: Culture, People, and Power on the Global Screen。Rutgers University Press。  new window
4.Chow, Rey(2007)。Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility。New York：Columbia University Press。  new window
5.Lim, Song-Hwee(2006)。Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas。Honolulu：University Of Hawai'i Press。  new window
6.Deleuze, Gilles、Tomlinson, Hugh、Galeta, Robert(2005)。Cinema 2: The Time-Image。London：Continuum。  new window
7.Bordwell, David(2005)。Figures Traced in Light: On Cinematic Staging。University of California Press。  new window
8.Barthes, Roland、Lavers, Annette(1993)。Mythologies。Vintage Books。  new window
9.Doane, Mary Ann(2002)。The Emergence of Cinematic Time: Modernity, Contingency, the Archive。Harvard University Press。  new window
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14.Martin, Fran(2003)。Situating Sexualities: Queer Representation in Taiwanese Fiction, Film and Public Culture。Hong Kong University Press。  new window
15.Douglas, Mary(2002)。Purity and Danger: An Analysis of Concepts of Pollution and taboo。Routledge。  new window
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17.McGowan, Todd(2011)。Out of Time: Desire in Atemporal Cinema。Minneapolis：University of Minnesota Press。  new window
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26.徐立功、李令儀(2006)。讓我們再愛一次：徐立功的電影世界。臺北：天下文化。  延伸查詢new window
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35.Bazin, Artdré、Gray, Hugh(1967)。What is Cinema?。Berkeley, Los Angles：University of California Press。  new window
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37.Agacinski, Sylviane、Gladding, Jody(2003)。Time passing: modernity and nostalgia。New York：Columbia University Press。  new window
38.Yeh, Emilie Yueh-yu、Davis, Darrell William(2005)。Taiwan Film Directors: A Treasure Island。New York：Columbia University Press。  new window
39.Andrew, Dudley(2010)。What Cinema Is!: Bazin's Quest and its Charge。Wiley-Blackwell。  new window
40.Sutton, Damian(2009)。Photography, Cinema, Memory: The Crystal Image of Time。University of Minnesota Press。  new window
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47.Eriksen, Thomas Hylland(2001)。Tyranny of the moment: Fast and slow time in the information age。Pluto Press。  new window
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58.Adair, Gilbert(2004)。The Dreamers: A Romance。Faber & Faber。  new window
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60.Beckman, Karen、Ma, Jean(2008)。Still Moving: Between Cinema and Photography。Duke University Press。  new window
61.Betz, Mark(2009)。Beyond the Subtitle: Remapping European Art Cinema。University of Minnesota Press。  new window
62.Biro, Yvette、Salamon, Paul(2008)。Turbulence and Flow in Film: The Rhythmic Design。Indiana University Press。  new window
63.Boozer, Jack(2008)。Authorship in Film Adaptation。University of Texas Press。  new window
64.Bordwell, David(2006)。The Way Hollywood Tells It: Story and Style in Modern Movies。University of California Press。  new window
65.Campany, David(2008)。Photography and Cinema。Reaktion Books。  new window
66.Casebier, Allan(1991)。Film and Phenomenology: Toward a Realist Theory of Cinematic Representation。Cambridge University Press。  new window
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68.Charney, Leo(1998)。Empty Moments: Cinema, Modernity, and Drift。Duke University Press。  new window
69.Chow, Rey(2012)。Entanglements, or Transmedial Thinking about Capture。Duke University Press。  new window
70.Duffy, Enda(2009)。The Speed Handbook: Velocity, Pleasure, Modernism。Duke University Press。  new window
71.Frank, Adam(2012)。About Time: From Sun Dials to Quantum Clocks, How the Cosmos Shapes our Lives--And We Shape the Cosmos。Oneworld。  new window
72.Galt, Rosalind、Schoonover, Karl(2010)。Global Art Cinema: New Theories and Histories。Oxford University Press。  new window
73.Gerstner, David A.、Staiger, Janet(2003)。Authorship and Film。Routledge。  new window
74.Grant, Berry Keith(2008)。Auteurs and Authorship: A Film Reader。Blackwell Publishing。  new window
75.Graver, Lawrence(2004)。Beckett: Waiting for Godot: A Student Guide。Cambridge University Press。  new window
76.Green, David、Lowry, Joanna(2006)。Stillness and Time: Photography and the Moving Image。Photoworks。  new window
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78.Hill, John、McLoone, Martin(1996)。Big Picture, Small Screen: The Relations Between Film and Television。University of Luton Press。  new window
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84.Kundera, Milan、Asher, Linda(1995)。Slowness。Harper Collins。  new window
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其他
1.石芳綾(20061105)。蔡明亮：永遠退出金馬，https://www.epochtimes.com/b5/6/11/5/n1510123.htm。  延伸查詢new window
2.馬世芳(2009)。請勿槍殺歌手：戒嚴時代禁歌大觀，http://blog.eslite.com/esliteforum/archives/date/2009/07/13。  延伸查詢new window
3.曾國華(20100309)。北美館永久典藏蔡明亮裝置藝術「是夢」，http://news.rti.org.tw/index_newsContent.aspx?nid=235112。  延伸查詢new window
4.Bandis, Helen，Martin, Adrian，McDonald, Grant(2005)。The 400 Blow Jobs，http://www.rouge.com.au/rougerouge/wayward.html。  new window
5.(20080724)。Cameron's Bike Stolen as He Shops，http://news.bbc.co.uk/2/hi/uk_news/politics/7523144.stm。  new window
6.(20080429)。Bo Yang, 88, Taiwanese essayist，https://www.nytimes.com/2008/04/29/world/asia/29iht-obit.1.12430077.html。  new window
7.Dobson, Roger，Thompson, Jonathan(20040606)。Cash-rich, time-poor Britons waste £1,725 a year on must-have gear they'll never use，http://www.independent.co.uk/news/uk/this-britain/cashrich-timepoor-britons-waste-acircpound1725-a-year-on-musthave-gear-theyll-never-use-6168330.html。  new window
8.Flanagan, Matthew(2008)。Towards an Aesthetic of Slow in Contemporary Cinema，http://www.16-9.dk/2008-11/side11_inenglish.htm。  new window
9.Fox, Dan(2010)。Slow, Fast, and Inbetween，https://www.frieze.com/article/slow-fast-and-inbetween。  new window
10.French, Philip(20110529)。Review of Le Quattro Volte，https://www.theguardian.com/film/2011/may/29/le-quattro-volte-michelangelo-frammartino。  new window
11.Government Information Office(2011)。Collection of Box Office Earnings of First-Run Theaters in Taipei (1999-2011.09)，http://www.taiwancinema.com/ct.asp?xltem=50896&ctNode=144&mp=2。  new window
12.Linssen, Dana(2009)。Introducing: Slow Criticism，http://www.filmkrant.nl/slowcriticism_2009。  new window
13.Lundegaard, Erik(20041015)。The Taiwanese Film Equivalent of Watching Paint Dry，http://seattletimes.nwsource.com/html/movies/2002063251_goodbye15.html。  new window
14.Malik, Shiv(20120806)。Kindle ebook Sales Have Overtaken Amazon Print Sales, Says Book Seller，https://www.theguardian.com/books/2012/aug/06/amazon-kindle-ebook-sales-overtake-print。  new window
15.McCrum, Robert(20100905)。Harry Potter, Tony Blair... Can These Blockbusters Save the World of Books?，https://www.theguardian.com/books/2010/sep/05/death-books-rebirth-print。  new window
16.McKie, David(20050901)。Beam me up, Scotty，https://www.theguardian.com/comment/story/0,3604,1560194,00.html。  new window
17.Romney, Jonathan(20001007)。Are You Sitting Comfortably?，https://www.theguardian.com/film/2000/oct/07/books.guardianreview。  new window
18.Rose, Steve(20101111)。'You don't have to understand everything': Apichatpong Weerasethakul，https://www.theguardian.com/film/2010/nov/11/apichatpong-weerasethakul-director-uncle-boonmee-interview。  new window
19.Shaviro, Steven(20100512)。Slow Cinema Vs Fast Films，http://www.shaviro.com/Blog/?p=891。  new window
20.Young, Paul(20080201)。Black Box White Cube，http://www.artinfo.com/news/story/26655/black-box-white-cube/。  new window
圖書論文
1.Martin, Fran(2003)。Vive L'Amour: Eloquent Emptiness。Chinese Films in Focus: 25 New Takes。London：British Film Institutel。  new window
2.陳寶旭(1994)。「愛情萬歲」萬萬歲！。愛情萬歲：蔡明亮的電影。萬象圖書股份有限公司。  延伸查詢new window
3.詹宏志(1988)。民國七十六年台灣電影宣言。台灣新電影。臺北：時報。  延伸查詢new window
4.Lim, Song Hwee(2013)。Taiwan New Cinema: Small Nation with Soft Power。The Oxford Handbook of Chinese Cinemas。Oxford University Press。  new window
5.Henderson, Brain(1976)。The Long Take。Movies and Methods: An Anthology。Berkeley：University of California Press。  new window
6.Shklovsky, Victor(1965)。Art as technique。Russian formalist criticism: Four essays。University of Nebraska Press。  new window
7.Rees, Alan Leonard、White, Duncan、Ball, Steven、Curtis, David(2011)。Expanded Cinema and Narrative: A Troubled History。Expanded Cinema: Art, Performance, Film。London：Tate。  new window
8.王玉燕、林文淇(2010)。用盡全部力氣，將電影推向極致的自由：《臉》導演蔡明亮。臺灣電影的聲音：放映週報vs臺灣影人。書林出版有限公司。  延伸查詢new window
9.王清華(1997)。1996年外片發行概況。中華民國八十六年電影年鑑。國家電影資料館。  延伸查詢new window
10.王清華(1999)。1998年中外電影發行概況。中華民國八十八年電影年鑑。國家電影資料館。  延伸查詢new window
11.王清華(2002)。2001年台灣電影市場。中華民國九十一年電影年鑑。國家電影資料館。  延伸查詢new window
12.朱天文(1994)。新的碑誌。愛情萬歲。萬象。  延伸查詢new window
13.蔡明亮(2004)。[不見不散：蔡明亮與李康生]序。不見不散：蔡明亮與李康生。八方文化。  延伸查詢new window
14.Allen, Michael(2009)。The Impact of Digital Technologies on Film Aesthetics。Film Theory and Criticism: Introductory Readings。Oxford University Press。  new window
15.Altman, Rick(1992)。Introduction: Sound's Dark Comers。Sound Theory, Sound Practice。Routledge。  new window
16.Andrew, Dudley(1997)。André Bazin's 'Evolution'。Defining Cinema。The Athlone Press。  new window
17.Andrew, Dudley(2000)。The Unauthorized Auteur Today。Film and Theory: An Anthology。Blackwell Publishers。  new window
18.Andrew, Dudley(2010)。[Global Art Cinema: New Theories and Histories] Foreword。Global Art Cinema: New Theories and Histories。Oxford University Press。  new window
19.Andrew, Dudley(2010)。Time Zones and Jetlag: The Flows and Phases of World Cinema。World Cinemas, Transnational Perspectives。Routledge。  new window
20.Astruc, Alexandre(1968)。The Birth of a New Avant-Garde: La Camera-Stylo。The New Wave: Critical Landmarks。Seeker and Warburg。  new window
21.Barthes, Roland(1987)。From Work to Text。Debating Texts: A Reader in Twentieth-century Literary Theory and Method。Open University Press。  new window
22.Beck, Jay、Grajeda, Tony(2008)。Introduction: The Future of Film Sound Studies。Lowering the Boom: Critical Studies in Film Sound。University of Illinois Press。  new window
23.Beckman, Karen、Ma, Jean(2008)。[Still Moving: Between Cinema and Photography] Introduction。Still Moving: Between Cinema and Photography。Duke University Press。  new window
24.Berry, Chris(1999)。Where is the Love? The Paradox of Performing Loneliness in Ts'ai Ming-liang's Vive L'Amour。Falling for You: Essays on Cinema and Performance。Power Publications。  new window
25.Betz, Mark(2006)。The Cinema of Tsai Ming-liang: A Modernist Genealogy。Reading Chinese Transnationalisms: Society, Literature, Film。Hong Kong University Press。  new window
26.Camper, Fred(1985)。Sound and Silence in Narrative and Nonnarrative Cinema。Film Sound: Theory and Practice。Columbia University Press。  new window
27.Caughie, John(1981)。Introduction to Part One, Section A。Theories of Authorship。Routledge and Kegan Paul。  new window
28.Chatterji, Shoma(2003)。Silence Juxtaposed Against Sound in Contemporary Indian Cinema。Soundscape: The School of Sound Lectures 1998-2001。Wallflower Press。  new window
29.Elsaesser, Thomas(2005)。Cinephilia or the Uses of Disenchantment。Cinephilia: Movies, Love and Memory。Amsterdam University Press。  new window
30.Figgis, Mike(2003)。Silence: The Absence of Sound。Soundscape: The School of Sound Lectures 1998-2001。Wallflower Press。  new window
31.Friedberg, Anne(2000)。The End of Cinema: Multimedia and Technological Change。Reinventing Film Studies。Arnold。  new window
32.Galt, Rosalind、Schoonover, Karl(2010)。Introduction: The Impurity of Art Cinema。Global Art Cinema: New Theories and Histories。Oxford University Press。  new window
33.Godard, Jean-Luc(2011)。Jean-Luc Godard。Tacita Dean: Film。Tate Publishing。  new window
34.Gorbman, Claudia(2007)。Auteur Music。Beyond the Soundtrack: Representing Music in Cinema。University of California Press。  new window
35.Holmes, Diana(2007)。Sex, Gender and Auteurism: The French New Wave and Hollywoo。World Cinema's 'Dialogues' with Hollywood。Palgrave Macmillan。  new window
36.Lawrence, Michael(2010)。Lee Kang-sheng: Non-professional Star。Chinese Film Stars。Routledge。  new window
37.Lim, Song Hwee(2012)。Speaking in Tongues: Ang Lee, Accented Cinema, Hollywood。Theorizing World Cinema。I.B. Tauris。  new window
38.Liu, Yung Hao(2007)。'I thought of the times we were in front of the flowers': Analyzing the Opening Credits of Goodbye Dragon Inn。Cinema Taiwan: Politics, Popularity and State of the Arts。Routledge。  new window
39.Lomax, Yve(2006)。Thinking Stillness。Stillness and Time: Photography and the Moving Image。Photoforum, and Brighton, Photoworks。  new window
40.Misek, Richard(2012)。Dead Time: Cinema, Heidegger, and Boredom。After Taste: Cultural Value and the Moving Image。Routledge。  new window
41.Rivière, Danièle、Tsai, Ming-liang、Rothwell, Andrew(1999)。Scouting。Tsai Ming-liang。Dis Voir。  new window
42.Rubin, Martin(1985)。The Voice of Silence: Sound Style in John Stahl's Back Street。Film Sound: Theory and Practice。Columbia University Press。  new window
43.Sarris, Andrew(1992)。Notes on Auteur Theory in 1962。Film Theory and Criticism: Introductory Readings。Oxford University Press。  new window
44.Sarris, Andrew(2003)。The Auteur Theory Revisited。Film and Authorship。Rutgers University Press。  new window
45.Sider, Larry(2003)。[Soundscape: The School of Sound Lectures 1998-2001] Preface。Soundscape: The School of Sound Lectures 1998-2001。Wallflower Press。  new window
46.Théberge, Paul(2008)。Almost Silent: The Interplay of Sound and Silence in Contemporary Cinema and Television。Lowering the Boom: Critical Studies in Film Sound。University of Illinois Press。  new window
47.Tincknell, Estella(2006)。The Soundtrack Movie, Nostalgia and Consumption。Film's Musical Moments。Edinburgh University Press。  new window
48.Tincknell, Estella、Conrich, Ian(2006)。[Film's Musical Moments] Introduction。Film's Musical Moments。Edinburgh University Press。  new window
49.Truffaut, François(1966)。A Certain Tendency of the French Cinema。Cahiers du Cinéma in English。Cahiers Publishing Co。  new window
50.Tudor, Andrew(2005)。The Rise and Fall of the Art (House) Movie。The Sociology of Art: Ways of Seeing。Palgrave Macmillan。  new window
51.Udden, James(2011)。On the Shoulders of Giants: Tsai Ming-liang, Jia Zhangke, Fruit Chan and the Struggles of Second Generation Auteurism。The Chinese Cinema Book, eds. Song Hwee Lim and Julian Ward。Palgrave Macmillan。  new window
52.Weis, Elisabeth、Belton, John(1985)。[Film Sound: Theory and Practice] Preface。Film Sound: Theory and Practice。Columbia University Press。  new window
53.Naremore, James(1999)。Authorship。A Companion to Film Theory。Blackwell Publishers。  new window
54.鄧志傑(2007)。This Time He Moves: The Deeper Significance of Hou Hsiao-hsien's Radical Break in Good Men, Good Women。Cinema Taiwan: Politics, Popularity and State of the Arts。Routledge。  new window
 
 
 
 
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