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¥»¬ã¨s¥H¡uqu¡¦est-ce que le cinéma¡H¡v¯}ÃD¡A´N¹q¼v¤§¾ú¥v¯ßµ¸¡B¼v¹³¤º²[»P¥~¦bÀô¹Ò¤§ÅܾE¡AÂç²M¼Æ¦ì¬ì§Þ¤¶¤J¹q¼v¥»Åé©Ò¤Þµo¹ï©ó§Þ³N¡B²£·~»P¬ü¾Ç¤§¥i¯àÅܲ¡C¨Ã³z¹L¼Æ¦ì¹q¼vªº¤º¦b¥»Åé»P¥~¦b³õ°ì¤§¯S¼x»P«Øºc¡A´£¥X¹q¼v¬ü¾Ç«á²{}±Ò¤F¹q¼vªº¤é±`¥Í¬¡ 45 ¤¡B¹q¼vÃÀ³N»P¬ü¾Ç¨t²Îªºµo®i 47 ²Ä¥|¸` ¼Æ¦ì®É¥Nªº¹q¼v§Þ³N»PÃÀ³N 51 ¤@¡B¼Æ¦ì¹q¼v¡G§Þ³NÅX¨ÏµÛ¹q¼vªº¥»½èÅÜ¤Æ 51 ¤G¡B¹q¼v¼Æ¦ì¤Æ»P¼Æ¦ì¹q¼v 53 ²Ä¤¸` ¼Æ¦ì¹q¼vªº«á²{}±R·~Ķ¡A1994¡A¡m¹q¼v¬ü¾Ç·§ z¡n¡C¥_¨Ê¥«¡G¤¤°ê¹q¼v¥Xª©ªÀ¡C Arnheim, R. 1932, Film as Art. ¤¤Ä¶¥»¥Ñªòªª§gĶ¡A2003¡A¡m¹q¼v§@¬°ÃÀ³N¡n¡C¥_ ¨Ê¥«¡G¤¤°ê¥Xª©ªÀ¡C Bakhtin, M. M. 1929, Problems of Dostoevsky¡¦s Poetics. ¤¤Ä¶¥»¥Ñ¥Õ¬K¤¯µ¥Ä¶¡A 1998¡A¡qªû«ä§´C¤Ò´µ°òªº¸Ö¾Ç°ÝÃD¡r¡A¦¬¿ý©ó¡m¤Ú»®ª÷¥þ¶°²Ä¤¨÷¡n¡Aªe¥_¬Ù¡Gªe¥_±Ð¨|¥Xª©ªÀ Balázs, B. 1945, Theory of the Film. ¤¤Ä¶¥»¥Ñ¦ó¤OĶ¡A2003¡A¡m¹q¼v¬ü¾Ç¡n¡C¥_¨Ê ¥«¡G¤¤°ê¹q¼v¥Xª©ªÀ¡C Bathe, R. 1975, En sortant du cinema. ¤¤Ä¶¥»¥ÑÃh¦tĶ¡A1995¡A¡q¨«¥X¹q¼v°|¡r¡A¦¬ ¿ý©ó¡mùÄõ¡E¤Ú¯SÀHµ§¿ï¡n¡C¤Ñ¬z¥«¡G¦Êªá¤åÃÀ¥Xª©ªÀ¡C Baudrillard, J. 1976, Symbolic Exchange and Death. ¤¤Ä¶¥»¥Ñ°¨®ü¨}Ķ¡A2000¡A¡q¶H ¼x¥æ´«»P¦º¤`¡r¡A¦¬¿ý©ó¡m«á²{}¤ÌªÀ·|¾Çªº²Ä¤@½Ò¡n¡C¥x¥_¥«¡G³Á¥Ð¥Xª©¡C Cavell, S. 1979, Reflections on the Ontology of Film. ¤¤Ä¶¥»¥Ñ»ô¦t¡B§QªåĶ¡A 1993¡A¡m¬Ý¨£ªº¥@¬É¢wÃö©ó¹q¼v¥»Å骺«ä¦Ò¡n¡C¥_¨Ê¥«¡G¤¤°ê¹q¼v¥Xª©ªÀ¡C Calinescu, M. 1987, Five Faces of Modernity: Mondernism, Avant-Garde, Decadence, Kitsch, Postmodernism. ¤¤Ä¶¥»¥Ñ©P¾Ë¡B³\¶vĶ¡A2002¡A¡m²{}¬L¡BJ©Ó°¶Ä¶¡A1995¡A¡m¥@ ¬É¹q¼v¥v¡n¡C¥_¨Ê¥«¡G¤¤°ê¹q¼v¥Xª©ªÀ¡C Slevin, J. 2000, The Internet and Society. ¤¤Ä¶¥»¥Ñ¤ý¼Ö¦¨¡BªL¦ö¸t¡B¸ªY»öĶ¡A 2002¡A¡mºô»Úºô¸ô»PªÀ·|¡n¡C¥x¥_¥«¡G¥°´¼¤å¤Æ¡C Spargo, T. 1999, Foucault and queer theory. ¤¤Ä¶¥»¥ÑªL¤å·½Ä¶¡A2002¡A¡m³Å¬_»P»Å ¨à²z½×¡n¡C¥x¥_¥«¡G¿ßÀYÆN¥Xª©ªÀ¡C Stam, R. 2000, Film Theory: An Introduction. ¤¤Ä¶¥»¥Ñ³¯¾§×¡B³¢¥®ÀsĶ¡A2002¡A ¡m¹q¼v²z½×¸ÑŪ¡n¡C»O¥_¥«¡G»·¬y¡C Thompson ,K. & Bordwell, D. 1994, Film History¡GAn Introduction. ¤¤Ä¶¥»¥Ñ¹ùª÷ »ñĶ¡A1998¡A¡m¹q¼v¦Ê¦~µo®i¥v¡n¡C»O¥_¥«¡G³Á®æÃ¹§Æº¸¡C Virenque, A. 1999, L¡¦industrie cinématographique française. ¤¤Ä¶¥»¥ÑªL±R¼zĶ¡A 2002¡A¡mªk°ê¹q¼v¤u·~¡n¡C¥x¥_¥«¡G³Á¥Ð¥Xª©¡C Wasko, J. 1994, Hollywood in the Information Age. ¤¤Ä¶¥»¥ÑÃQËjĶ¡A1999¡A¡m¶W¶V ¤j»È¹õ¢w¸ê°T®É¥Nªº¦nµÜ¶õ¡n¡C»O¥_¥«¡G»·¬y¡C Usai, C. P. 2000, The Death of Cinema¡GHistory, Cultural Memory and the Digital Dark Age. ¤¤Ä¶¥»¥Ñ³¯¾§×Ķ¡A2004¡A¡m¹q¼v¤§¦º¡G¾ú¥v¡B¤å¤Æ°O¾Ð»P¼Æ¦ì ¶Â·t®É¥N¡n¡C»O¥_¥«¡G¹q¼v¸ê®ÆÀ]¡C ¸³§Ó±j¡A2002¡A¡m®ø¸Ñ»P«ºc¢wÃÀ³N§@«~ªº¥»½è¡n¡C¥_¨Ê¥«¡G¤H¥Á¥Xª©ªÀ¡C ¥Ð¥üÄ£¡A2006¡A¡m¹q¼v¬ü¾Ç»P¤å¤Æ¾Ç¡n¡C¥_¨Ê¥«¡G¤¤°ê¼s¼½¹qµø¥Xª©ªÀ¡C
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