韓劇電影你都看哪一部呢？論文書籍站
Neo noir movies的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包
Neo noir movies的問題，我們搜遍了碩博士論文和台灣出版的書籍，推薦Kuoshu, Harry H.寫的 Craziness and Carnival in Neo-Noir Chinese Cinema 和Coburn, Glen的 Whacked!: Skewed Views of Horror Movies That Simply Refuse to Die都 可以從中找到所需的評價。
另外網站Neo-Noir With Ben and Eddie - Turner Classic Movies - TCM也說明：The term “neo-noir” has been defined as a style in which more contemporary directors knowingly reflect the noir style of the 1940s and '50s. The ...
這兩本書分別來自 和所出版 。
國立交通大學 音樂研究所 金立群所指導 黃翎的 外來歌曲、黑色音聲、殖民遺緒 《牯嶺街少年殺人事件》與《重慶森林》的音聲與失語 （2016），提出Neo noir movies關鍵因素是什麼，來自於《牯嶺街少年殺人事件》(楊德昌，1991)、《重慶森林》(王家衛，1994)、非原創歌曲、黑色電影音聲、殖民遺緒。
而第二篇論文國立政治大學 英國語文學研究所 史文生、羅狼仁所指導 郭佳雯的 性、暴力與無政府： 美國20年代到40年代犯罪小說中的身體政治 （2014），提出因為有 美國冷硬派犯罪小說、黑色電影、經濟大蕭條、身體政治、沒有器官的身體、殺女的重點而找出了 Neo noir movies的解答。
最後網站Unpunished Evil: When Neo-noirs Took Over the '90s則補充：ByBy the late '90s and early 2000s, the neo-noir genre was peaking: Movies like L.A. Confidential, The Usual Suspects, Memento, and A Simple ...
Craziness and Carnival in Neo-Noir Chinese Cinema
為了解決Neo noir movies 的問題，作者Kuoshu, Harry H. 這樣論述：
Harry H. Kuoshu is Herring Endowed Chair in Asian Studies and Film Studies at Furman University, USA, where he teaches courses on Chinese film, literature, culture and language. In addition to scholarly articles, he is the author of Lightness of Being in China (1999), Celluloid China (2002), and Met
ro Movies: Cinematic Urbanism in Post-Mao China (2011).
外來歌曲、黑色音聲、殖民遺緒 《牯嶺街少年殺人事件》與《重慶森林》的音聲與失語
為了解決Neo noir movies 的問題，作者黃翎 這樣論述：
電影音聲研究的突破，由Michel Chion在1990年代提出audio-vision的概念開始，認為觀賞電影時視覺與聽覺密不可分。而楊德昌的《牯嶺街少年殺人事件》(1991) 和王家衛的《重慶森林》(1994) 為兩部相當重要的華語電影作品，從音聲角度的研究卻寥寥無幾。因此本文嘗試以三個層次較全面地解讀兩部電影中的音聲與影像。第一層是比較明顯的互文性 (intertextuality)，因為兩部電影中出現的音樂幾乎都是非原創的西洋流行歌曲，故先重構歌曲本身的脈絡，並聚焦當中「原唱」以及「翻唱」兩種呈現方式的主體性，從而理解其與電影畫面與敘事所產生的新文本的意義。第二是深一層以《牯嶺街少年
殺人事件》與《重慶森林》作為黑色電影去理解其音聲特性，發現兩部電影的城市的音景與所謂「致命女性」(femme fatale) 等角色的刻畫，其實都呼應著黑色電影的氛圍與基調。若第一、二層的分析較為鑒賞性 (appreciative)，近乎David Bordwell所謂的理解與解釋，最後一層則是以症候性 (symptomatic) 詮釋電影中的聲音。而這一點也是本文的主旨所在，將兩部電影視為後殖民寓言：其中在地音聲症候性的失語，是殖民權力所強制的「結構性噤聲」。
Whacked!: Skewed Views of Horror Movies That Simply Refuse to Die
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為了解決Neo noir movies 的問題，作者Coburn, Glen 這樣論述：
Whacked is the definitive book of insane commentaries that focus on movies of the horror and exploitation genre of the 1970s and '80s. The satiric criticism of movies featured in this book is the meat. The movies themselves serve as a backdrop. Home Video pioneer, Glen Coburn, writer/director of Bl
oodsuckers From Outer Space creates a quirky cast of characters that meander through his commentaries. These characters and their presence as the author's movie viewing companions are often more significant that the movies themselves. A central figure in the book is Coburn's unofficial bastard steps
on, Elmo. This scruffy, unwashed young man is responsible for perpetual hijinks that often distract the author from his mission to strip down each movie to its despicable anatomy. From the author: "After years of suffering from over active sweat glands I finally realized the truth. The vaporous fume
s of this book do not serve as movie reviews. My commentaries are not a sewer pipe to the understanding of movies such as, "Cannibal Buttwipes of Alabama." My flatulent essays are the entertainment itself. It was brought to my attention by a lobotomized turnip farmer that when he read these articles
he was overcome with a compulsion to witness the movies. My beautiful writing led to great inspiration in the simmering brain of this pathetic specimen of humanity. I was not alone during my adventure in self-loathing. Several people and animals were always around to stink up the place. My horrible
bastard surrogate son, Elmo was at arms length most of the time. His chronic presence was disturbing and comforting in equal measure. My lovely wife, Honeypot watched some of these movies while reading a cookbook written in Braille. My darling smart-ass daughter, Princess sat in on a few viewings a
nd quickly turned even more disgruntled. A friend of mine described this book as toilet reading. He said that each of these commentaries could be read in one sitting. If you enjoy this book, I will fawn over you until you become nauseated. Those who do not appreciate my work can go straight to hell.
" An excerpt: "This movie reminds me of being doped-up on cold medication. It's like waking up in a night sweat from the grip of an awful dream only to realize that you're still dreaming. When you finally wake up again, you figure out that you're in another dream. This goes on until ninety minutes h
ave passed and you become fully alert, engulfed in a pond of your own saliva. If Christopher Nolan was drunk on window cleaner and made Inception for ten dollars, the result would be Blood of Ghastly Horror. I don't mean that in a bad way. This movie is a veritable masterpiece of making one movie ou
t of another movie and then making another movie out of the first two. Each additional film contains new footage that is unrelated to anything in any movie ever made. The layers are intractably woven together into an irresistibly trippy gruel." Review: "Not since that other Texas redneck has there b
een a critic whose collection contains such a colorful cast of characters and a trashy attitude toward the trashy films we (for no good reason) love. WHACKED is not only a nauseatingly fun read, but between all the shinola and bullstuff, I bet you'll learn a thing or two. It's a perfectly putrid add
ition to your vast library of otherwise stuffy film books that take themselves way too seriously." -- Michael Koopmans FANGORIA.com Glen Coburn is a writer/photographer/filmmaker. A pioneer of the Home Video explosion, his first motion picture, the cult sensation, Bloodsuckers From Outer Space was
unleashed at the birth of the new medium. He wrote and directed Baby Born With Full Beard, a segment of the anthology film, Tabloid! His neo-noir psychodrama, Hollywood Deadbeat was screened at film festivals in New York, Berlin, Dallas, and Newport Beach. Coburn’s company, Whacked Movies markets a
nd distributes off-beat movies such as Bret McCormick’s erotic, sci-fi romp, Repligator.
性、暴力與無政府： 美國20年代到40年代犯罪小說中的身體政治
為了解決Neo noir movies 的問題，作者郭佳雯 這樣論述：
性、暴力與無政府是美國犯罪小說的三個主要構成元素。自從達許．漢密特於西元1929年出版了他的《紅色收穫》，美國冷硬派偵探犯罪小說就此成形。此本論文針對三位經典冷硬派犯罪小說作者的主要作品，討論黑色電影文學的性、暴力與無政府：在詹姆斯．凱因的《雙重保險》裡 ，我們說到美國犯罪小說中的性元素；在雷蒙．錢德勒的《湖中女子》裡，探討美國黑色文學中的暴力因子；而在達許.漢密特的《紅色收穫中》， 我們講到美國冷硬派偵探小說裡的無政府現象。本論文的主軸在於作者如何呈現小說的故事，以及讀者是如何被作者引導進入犯罪小說的世界裡， 藉由文本的閱讀，讀者投射了本身的慾望、恐懼與迷戀情節 (desires, pho
bias and obsessions) ，用幻想的方式，在腦海裡再生性與暴力的情節。法國哲學家尚路克．南希(Jean-Luc Nancy)提及影像的無扎根性(the groundlessness of images)，影像的過剩威力是一種自發的向度，不在場的人事物往往讓人感受到親臨現場的情緒張力：想像力生成的腦內影像，在缺置(absence)的狀態下，達到身置其中(presence)的氾濫情感。藉此，犯罪小說激起讀者的強烈情緒、豐富的想像力，最後想像力生成的影像超脫了文本的桎梏，讀者體會了踰矩的快感。詹姆斯．凱因偏向從犯罪者的角度描寫故事，不同於其他的冷硬派作者 (他們都從私家偵探的角度看待
犯罪)，而凱因的主角往往都是利慾薰心的一般人。在《雙重保險》中，蛇蠍美女(femme fatale)的身體是美麗且怪誕的，凱因所描繪的女體性慾是無法掌控與馴服的，是法國女哲學家克里斯蒂娃(Julia Kristeva)所描繪的「黑暗、可憎且墮落的威力」。凱因的女主角菲力絲(Phyllis) 是一位愛戀喪禮美感的奇女子，也是死神的肉身賦形。菲力絲是克里斯蒂娃所說的「謀殺性社交的嘉年華魁儡」，她的愛人無法抵擋她奇異的女性魅力，參與了她的陰謀而犯下了謀殺的惡行。男人瘋狂地迷戀那腐敗的壞女人，臣服了自己心理的病徵 (拉岡Lacan與紀傑克Zizek曾說：「女人是男人的病徵」)，成了女性犯罪的共謀者，一
齊追求那遙不可及的執爽快感 (jouissance)，以愛之名犯下了不可饒恕的罪惡。凱因的男主角往往是女性魅惑的犧牲者。有別於凱因，雷蒙．錢德勒小說中的男主角成功地抗拒了女性的嫵媚。然而，男主角卻執意身涉險難，以證明自己的男子氣概。在《湖中女子》中，菲力普．馬洛涉入了一個危險的謊言境界：他必須釐清誰是謀殺湖中女子的真正兇手，以及溺死的湖中女子到底身為何人。沉入湖底的屍骸是被兇手強力切割分解的，它是一具毀了容的屍體，一件被殘忍掠奪性命的物品。另一位涉案的女性也慘遭痛毆，現場血跡斑駁。兇手與受害人的身份經常互調，難以辨識，連最後尋獲的屍體也由於兇手的猛烈侵犯，呈現突兀變形的恐怖狀態。大衛．沙勒文(
David Savran)在《像個男子漢般地承受》一書講到強勢的男子漢總是把自己視為受害者，主動去承擔許肉體上的害難，以滿足男性建立自我價值的心理需求。男子漢堅持自我，冒險犯難且大難不死，為的是在事後享受到權威感與自我控制的滿足。心理學家芮克(Theodore Reik)曾解釋「反射型施虐受虐情節」(reflexive sadomasochism)的運作機制：男人為了創造出全能的自我優越幻象，常常做出傷害自己的事情；在受難的過程當中，男人同時是觀看者，也是被自己觀看的對象。一方面說來，在男性相互角力的環境中，異性戀的性慾實現往往藉著肉體的剝削來達成：男人不是自虐地允許自己被女人傷害，就是自己成
為施虐者，主動加害女性，來滿足一種扭曲的性快感。另一方面說來，在犯罪小說中，女體的再現是刻意被作者肢解的，用碎裂的方式呈現：私家偵探追蹤著女性受害者的屍塊，細部調查犯罪細節。讀者在追尋破碎女體的過程裡，也感到窺淫的樂趣，被作者帶入一個以分屍女肉組成的殘忍世界。當故事的主角試圖蒐集碎裂的女體屍塊，來破解案情，作者激起了讀者的想像力，用圖像的方式構思犯罪。卡雅．席佛曼(Kaja Silverman)提及傳統電影當中的「陽具經濟」(phallic economy)：男人是主體(Je)，女人是客體(moi)，男人必須在文化當中棄絕(repudiate)女性來鞏固自己在兩性中的主導地位。而犯罪小說的作者
也用這種方式，把女性邊緣化，帶領讀者進入一個想像力氾濫的邪惡世界，於無邊際的潛意識裡狂奔。就此案例說來，生氣勃勃、風韻十足的性感女性被賦形成抽象的「事」(德文das Ding)，而被謀殺分屍的女受者人則是具形的「物」 (德文die Sache)，這也符合德國哲學家黑格爾所說「主人/奴隸」(主體/客體)的辦證邏輯。這也說明了，犯罪小說的蛇蠍美女不是被過度吹捧且奉若女神(deified)，就是被貶謫且戀物癖化(fetishized)。漢密特的《紅色收穫》在西元1929年版，這本小說奠定了美國無政府社會正義英雄的典範。在惡名昭彰的中部小鎮「人民谷」(綽號「人毒谷」)中 ，私家偵探歐普陷入了官商勾結、
黑道鬥爭的血戰，連自己的女朋友戴娜都被殺手用冰鑽刺死，而冰鑽的指紋卻指向他。逼不得已，被陷害的歐普必須以不報警的方式，靠一己之力來執行正義，飽受黑道追殺，歐普鋌而走險，在夾縫中生存，最後憤而一舉把壞人殲滅。歐普是犯罪小說裡的無政府英雄，這種形象常常出現在眾多主流的好萊塢犯罪電影與超級英雄漫畫當中，體現出一種美國特有的無政府英雄崇拜。英國歷史學家艾瑞克．霍布斯邦(Eric Hobsbawn)說道，美國私家偵探的無政府英雄形象有著普世的魅力，也象徵著美國資本主義社會中根深蒂固的無政府主義。美國文化中的超個人主義(ultra-individualism)投射出一個理想的美式烏托邦： 無政府的正義英雄
是不受限於體制的，他也是個反射型的受虐施虐者，享受著痛楚的快感。法國哲學家德勒茲(Deleuze)提出「沒有器官的身體」這個概念來解釋資本主義的有機體，體制在慾望的流動中去邊界化(deterritorialization)，且再次邊界化(reterritorialization)。 犯罪是人類慾望的反面再現，漢密特小說中的殺手是被解體的，受害者的屍塊也跟著被分解。正義英雄、加害者與受害者的肉身在這個黑暗的犯罪世界中消融，成了美國經濟大蕭條時代裡慾望的半形肉身(quasi-bodies)。接下來美國進入了第二次世界大戰，也為血肉模糊的紅色收穫，鋪下了無政府的大道。