陳學毅CHEN, Hsueh-I倪子涵NI, Tzu-Han2019-08-282014-08-202019-08-282013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0696820044%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/85930電影《德國09》的產出受到30年前反應真實社會事件的電影—《德國之秋》之啟發，後者秉持著德國新電影的初衷，此拍攝作品異於當時與社會聯結性乏弱的電影文化，不畏懼地碰觸社會上忌諱談論卻又揮之不去的恐怖主義—六八學運後的赤軍聯恐怖行動。《德國之秋》紀錄並對動盪的政治局面作出批判，成為激發兩德統一後20年、由14位德國導演以不同視角拍攝集合而成的《德國09》。 本研究藉由文化地景與地景敘事的概念，將《德國09》視為導演再現德國文化地景的文本，分析此文本之敘事以理解當今德國面臨到的困境與難題，包括身分認同、國家認同、經濟、種族、宗教、信仰、貧富差距、階級隔閡、全球化、現代化與女性議題等，同時了解各導演對於德國面對多元挑戰與問題的態度和立場。The movie “Deutschland 09” is highly inspired and influenced by its predecessor “Deutschland im Herbst,” which was aimed to reflect the social reality that the terrorism brought by a student-formed military group RAF in West Germany started from 1970 to 1979. This unstable period was called “Deutschland im Herbst.” The revolt was then suppressed by the government. The movie “Deutschland im Herbst” records this chaotic period involving different types of criticism of the government. The directors of “Deutschland 09” try to explore the state of this nation and to question the nation’s core value. This thesis presents the analysis of this movie, which is seen as a text represented by 14 directors, by using the ideas of cultural landscape and landscape narrative. Today Germany seems in greater confusion, including the trouble and issues of personal and national identities, economy, ethnic minorities, different religions, poverty, class conflict, globalization, feminine issue and so on. Through “Deutschland 09,” the difficulties and perplexities of this country can be broadly comprehended.德國文化地景地景敘事認同兩德統一Germanycultural landscapelandscape narrativeidentityGerman Unification