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| 銀幕上的青春：林清介1980年代青春成長電影中的社會與政治景觀 |
| Youth on Screen: Social and Political Landscapes of Lin Ching-Jie’s 1980s Youth Films |
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| 作者 |
江美萱 |
| Author |
Mei-Hsuan CHIANG |
| 關鍵詞 |
林清介、
青春成長電影、
問題學生片、
校園
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| Keywords |
Lin Ching-Jie,
youth film,
problem student film,
school film,
post-martial law Taiwan
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| 摘要 |
1980 年代是臺灣青春成長電影迅速發展的時期。隨著商業票房的成功，該類型蓬勃興起，並逐漸衍生出多樣次類型與敘事風格。然而，過往研究多集中於同時期新電影作者導演對青春主題的描繪，較少關注青春成長類型在當時臺灣電影產業與社會文化層面所產生的影響。本文回溯這段長期被學界邊緣化的青春成長類型發展歷程，並以有「學生電影之父」之稱的導演林清介及其作品為研究核心，重新審視1980年代臺灣青春成長電影與社會文化間的互動。在這波青春成長電影熱潮中，林清介扮演了關鍵推手的角色，他不僅敏銳掌握青少年議題與流行文化，更在青春成長類型的建構與深化上具有重要的貢獻。
本文聚焦於林清介作品中兩個代表性次類型——以青少年偏差行爲為主題的「問題學生片」，以及描繪校園師生關係和同儕互動的「校園片」——並分別以《安安》（1984）及《隔壁班的男生》（1988）與其續集《同學會》（1988）為例，分析這些作品如何反映當時觀眾對校園生活、青春形象與世代關係的文化想像，並結合新聞史料和電影審查檔案，深入探究當時社會對青少年問題的焦慮及其在影像中的再現與轉化。本文進一步探討林清介如何運用通俗的表現手法與類型敘事包裝對社會的批判，透過青春成長敘事強化並重申社會主流價值的合理性與穩定性。相較於帶有教育功能與嚴肅批判意味的問題學生片，林清介在1980年代末期拍攝的滑稽校園片反倒捕捉了解嚴初期臺灣社會氛圍中的躁動與矛盾。藉由描繪年輕世代的叛逆與成長經驗，林清介的青春成長電影不僅回應社會對青少年的期待與規訓，也參與重構1980年代臺灣社會對「變遷」的概念，調和社會對快速變遷的焦慮和集體感知。 |
| Abstract |
The 1980s marked a period of rapid development and consolidation for youth films in Taiwan. Spurred by strong box office success, these films gained widespread popularity and quickly evolved into a recognizable genre, giving rise to a range of subgenres and increasingly diverse narrative strategies. Despite their commercial visibility and impact on popular culture, academic discourse has largely marginalized this body of work. Scholarly attention has instead focused predominantly on representations of youth in the films of New Taiwan Cinema auteurs, overlooking how commercial youth films contributed in their own ways to shaping collective imaginaries and responding to the social transformations and generational anxieties of the time.
This paper revisits this neglected area of genre film history by centering on the works of director Lin Ching-Jie, a pioneering figure frequently referred to as the “Father of Student Films.” Lin played a crucial role in both popularizing and refining the youth film genre in 1980s Taiwan. Known for his sensitivity to youth-related issues and his ability to integrate elements of popular culture, Lin not only crafted widely accessible films that resonated with younger audiences but also contributed significantly to the development of key thematic and formal conventions within the genre. The study focuses on two representative subgenres found in Lin’s filmography: the “problem student film,” which centers on juvenile delinquency and behavioral deviance; and the “school film,” which depicts campus life, peer dynamics, and teacher-student relationships, often with a comedic tone. Through close textual analysis of An An (1984), The Boy Next Class (1988), and its sequel Class Reunion (1988), this paper examines how Lin’s films construct cultural imaginaries of youth, reflecting not only individual identity crises but also broader social tensions regarding education, morality, and generational conflict. In addition to formal and thematic analysis, this study also incorporates archival materials and censorship records to contextualize these works within the broader historical and institutional context of 1980s Taiwan. These archival sources provide crucial insight into how 1980s’ youth films intersected with public discourse surrounding youth delinquency, educational reform, and social discipline during a time of rapid political and cultural change.
Lin’s early “problem student films” are structured around conventional coming-of-age narratives that emphasize discipline, correction, and eventual reintegration into the social order. By charting the protagonist’s transition from deviance to normative adulthood, these films ultimately reaffirm dominant ideological values and institutional authority. While they gesture toward generational tensions and youth resistance, such conflicts are ultimately contained within a narrative arc that privileges conformity and the restoration of social stability. However, Lin’s later films—particularly his late-1980s “school films”—marked a shift in tone and strategy. Moving away from overt didacticism, these films adopted a lighter, more humorous approach, portraying teenage rebellion, emotional turbulence, and intergenerational conflict with irony and empathy. These school films, while seemingly lighthearted, in fact captured the restlessness and contradictions of Taiwanese society during its transition out of martial law. By channeling anxieties about social transformation through accessible genre conventions, Lin’s films offered audiences a mediated space to reflect on Taiwan’s shifting social landscape and to negotiate evolving notions of modernity and “change.”
Ultimately, this paper argues that Lin Ching-Jie’s youth films should be recognized not merely as entertainment or box-office successes, but as important cultural texts that actively participated in the reimagining of youth, modernity, and social order in 1980s Taiwan. His films used popular storytelling and genre forms to engage with the sociopolitical transformations of the decade, portraying youth not just as a demographic, but as a generational metaphor for change itself. Through his cinematic portrayals of rebellion, desire, and growth, Lin’s work helped mediate collective understandings of transformation during a pivotal moment in Taiwan’s history. |
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