Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”

碩士 === 國立臺南藝術大學 === 音像紀錄與影像維護研究所 === 99 === In 2007, the researcher involved in holding the camera during the divorce of parents, exposed the state in which the family relies instead. The researcher also expressed the environment in the long run withstand the counterattack of domestic violence. From...

Full description

Bibliographic Details
Main Authors: Tsou,Yu-hsin, 鄒猷新
Other Authors: 蔡慶同
Format: Others
Language:zh-TW
Published: 2011
Online Access:http://ndltd.ncl.edu.tw/handle/17185745218571875064
id ndltd-TW-099TNCA5640001
record_format oai_dc
spelling ndltd-TW-099TNCA56400012015-10-13T20:08:43Z http://ndltd.ncl.edu.tw/handle/17185745218571875064 Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci” 以攝影機揭露家庭暴力與其反撲/反思 以紀錄片”阿鼻”為例 Tsou,Yu-hsin 鄒猷新 碩士 國立臺南藝術大學 音像紀錄與影像維護研究所 99 In 2007, the researcher involved in holding the camera during the divorce of parents, exposed the state in which the family relies instead. The researcher also expressed the environment in the long run withstand the counterattack of domestic violence. From 2008 to 2010, the researcher further explores the reasons why the family tensions to this. This study thinks parents as both the perpetrators and victims of physical violence and language violence. And think them to the same as the second-generation mainlanders, the common characteristics of devout religious believers as the starting point is to understand the experience of both life and develop their character, values, view of life and feelings of view. and to hermeneutics interviews, but also relies instead to be experienced researchers the right to interpret; then try to sort out the actual situation of this section marital experiences, to clarify the reasons for the two substandard. Finally, the researcher and self-reflective way, in addition to depending on the intervention of the camera for self-empowerment, it also demonstrates that the camera involved in the impact of the family shooting. And further analysis of the power relations point of view the whole creative process, including recording the moment the camera itself and the photographer / camera person is the relationship between the change in the purpose of filming, to editing after forming, after the reference to the different views about the adjustment of the system, each Expose the different stages of the pulling power of a focal point of the whole creative process. A professional point of view of creative documentary makers have the reflection of the overall increase in general, to investigate the record of domestic violence related to the theme of reference to bring more reflection. 蔡慶同 2011 學位論文 ; thesis 94 zh-TW
collection NDLTD
language zh-TW
format Others
sources NDLTD
description 碩士 === 國立臺南藝術大學 === 音像紀錄與影像維護研究所 === 99 === In 2007, the researcher involved in holding the camera during the divorce of parents, exposed the state in which the family relies instead. The researcher also expressed the environment in the long run withstand the counterattack of domestic violence. From 2008 to 2010, the researcher further explores the reasons why the family tensions to this. This study thinks parents as both the perpetrators and victims of physical violence and language violence. And think them to the same as the second-generation mainlanders, the common characteristics of devout religious believers as the starting point is to understand the experience of both life and develop their character, values, view of life and feelings of view. and to hermeneutics interviews, but also relies instead to be experienced researchers the right to interpret; then try to sort out the actual situation of this section marital experiences, to clarify the reasons for the two substandard. Finally, the researcher and self-reflective way, in addition to depending on the intervention of the camera for self-empowerment, it also demonstrates that the camera involved in the impact of the family shooting. And further analysis of the power relations point of view the whole creative process, including recording the moment the camera itself and the photographer / camera person is the relationship between the change in the purpose of filming, to editing after forming, after the reference to the different views about the adjustment of the system, each Expose the different stages of the pulling power of a focal point of the whole creative process. A professional point of view of creative documentary makers have the reflection of the overall increase in general, to investigate the record of domestic violence related to the theme of reference to bring more reflection.
author2 蔡慶同
author_facet 蔡慶同
Tsou,Yu-hsin
鄒猷新
author Tsou,Yu-hsin
鄒猷新
spellingShingle Tsou,Yu-hsin
鄒猷新
Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”
author_sort Tsou,Yu-hsin
title Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”
title_short Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”
title_full Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”
title_fullStr Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”
title_full_unstemmed Expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “Avīci”
title_sort expose domestic violence and it’s counterattack/reflection by the camera----in the documentary film “avīci”
publishDate 2011
url http://ndltd.ncl.edu.tw/handle/17185745218571875064
work_keys_str_mv AT tsouyuhsin exposedomesticviolenceanditscounterattackreflectionbythecamerainthedocumentaryfilmavici
AT zōuyóuxīn exposedomesticviolenceanditscounterattackreflectionbythecamerainthedocumentaryfilmavici
AT tsouyuhsin yǐshèyǐngjījiēlùjiātíngbàolìyǔqífǎnpūfǎnsīyǐjìlùpiànābíwèilì
AT zōuyóuxīn yǐshèyǐngjījiēlùjiātíngbàolìyǔqífǎnpūfǎnsīyǐjìlùpiànābíwèilì
_version_ 1718044799290834944