本論文探討瓊瑤電影的敘事與個人主義。瓊瑤類型在台灣電影史裡被泛指為「文藝愛情片」與「三廳電影」，時間大致與1963至1980年的台灣經濟奇蹟重合，五十部瓊瑤女士的小說在1965與1983年間被改編成為電影。此時的瓊瑤電影雖被認為是逃避主義的愛情故事，但是它們實際上反映了社會衝突，並且投射出女性主體與個體精神。
第一章爬梳瓊瑤電影的歷史脈絡，從小說改編、電影產業、影史批評三種層面切入，試圖建構出巨觀的影史知識。瓊瑤改編電影可分為兩個時期：六o年代的東南亞模式與七o、八o年代的台灣模式。本章首先透過中影電視公司與國聯公司的瓊瑤改編電影，來呈現瓊瑤電影起落轉折與瓊瑤女士如何影響瓊瑤電影的發展。本章認為電影獨特形式的物質性使瓊瑤電影截然不同於瓊瑤小說，螢幕呈現出的空間與明星效應使瓊瑤電影本質看似相近於小說卻實為獨特。在簡介完兩位代表瓊瑤類型的導演李行與白景瑞後，本章將檢視瓊瑤電影的相關批評，特別是低估類型重要性的論述。
第二章探討瓊瑤電影中重複出現的多組二元對立，本章認為瓊瑤電影敘事由社會與文化兩組二元對立所組成。在社會層面上，老/少對立的敘事功能指涉了傳統家庭，貧/富、道德好/壞在劇情的發展上扮演了重要的角色。除了通俗敘事中常見的社會對立，本章認為瓊瑤電影敘事還呈現了藝術/金錢、現代/傳統的文化對立。在台灣經濟起飛的年代，文化對立促進並形構了主體性：一個現代且趨近藝術之年輕個體對抗維繫社會傳統、擁抱財富的年長一代。兩組二元對立推動了瓊瑤電影敘事裡個人與社會的衝突高潮，瓊瑤電影並非逃避社會現實，反而感性地呈現了被包裝在浪漫氛圍的社會衝突，此一手法是針對特定觀眾，即全然投入台灣經濟發展、同時被瓊瑤電影中生動熱烈的個人主義深深吸引之年輕女性。
第三章檢視瓊瑤電影中被浪漫化的個人主義，瓊瑤電影裡的「自然」與「文藝」強調了個人價值、自由精神、與純真美德。本章認為瓊瑤電影絕非單純的「三廳電影」，實際上，自然景觀優美的外景鏡頭、詩意的名字、與主角的藝文相關職業或傾向是瓊瑤電影的類型傳統。瓊瑤電影並非提供女性觀眾一個不切實際的幻想，而是創造了一個她們可認同的理想主體。外景鏡頭中的男女主角在寬敞空間裡讓身體得到了自由；而文學與藝術則解放了她們的心靈。觀看瓊瑤電影並非是被動地幻想浪漫愛情，而是重複確認個體的價值與精神。本章認為瓊瑤電影中浪漫化的個人主義吸引了年輕女性觀眾，其主體性被七o年代台灣都會化父權社會所否認。

This thesis investigates the narrative and individualism of Qiong Yao cinema, a genre generally termed as “wenyi aiqing pian” (literary and artistic romantic film) and “santing dianying” (film of three rooms) in Taiwan film history. Fifty novels written by the popular female writer Qiong Yao were adapted into films from 1965 to 1983. Qiong Yao cinema thrived with the rise of Taiwan''s economy, the so called “Taiwan Miracle” between 1963 and 1980. Although Qiong Yao films made in this period are generally considered escapist romance, they in fact reflect social conflicts and project strong female subjectivity and individuality.
Chapter one elaborates on the twenty years of cinematic glory enjoyed by Qiong Yao genre. Qiong Yao adaptations are generally divided into two periods: the Southeastern Asian mode of the 60s and the Taiwan mode of the 70s, 80s. This chapter first introduces the adaptations made by the Central Motion Pictures Company and Grand Pictures Company to show the rise or fall of Qiong Yao genre and how Qiong Yao intervened in the production. The chapter argues that the materiality of the cinematic form makes Qiong Yao films distinctively different from her novels. Although the films are still very much in the Wenyi (literary and artistic) tradition of Taiwan, the representation of space on screen and the attraction of stars give Qiong Yao films a familiar but unique quality. The two representative directors in the Qiong Yao genre, Li Xing and Bai Jingrui, are briefly discussed before the chapter surveys the criticism on this genre, which underestimates the significance of Qiong Yao films.
Chapter two probes into pairs of binary oppositions recurrent in Qiong Yao films. This chapter argues that Qiong Yao film narrative in general is organized by two sets of binary oppositions, one social and the other cultural. On the social level, one can find the old/young contrast functioning in narrative involving a traditional family. There are also the poor/wealthy and morally good/bad contrasts playing important roles in the development of the plot. Besides the social opposition common in most melodramatic narratives, this chapter argues that there can be found in Qiong Yao film narrative cultural oppositions of art/money and modern/traditional. At the time when Taiwan was immersed in the drive of economic growth, the cultural oppositions help formulate a strong subjectivity in the scenario of a young individual with modern and artistic propensity fighting against the old generation which adheres to social traditions and embraces wealth. The two sets of oppositions propel the Qiong Yao narrative to the climax of the conflict between an individual and society. Not escaping from the social reality, Qiong Yao films sentimentally present social conflicts disguised within a romantic context for the target audiences: young women who were thoroughly engaged in Taiwan economic upheaval and found the exaltation of individualism highly appealing.
Chapter three further examines the romanticized individualism in Qiong Yao films. It analyzes how Qiong Yao films use nature and art/literature to highlight the value of individuality, the spirit of freedom, and the virtue of innocence. The chapter demonstrates that Qiong Yao films are by no means “santing dianying” (films shot in three rooms). It is in fact a generic convention for Qiong Yao films to include location shots with beautiful natural landscapes and characters with poetic names and artistic profession or inclination. The chapter argues that rather than depicting an unrealistic dreamland for the audience, Qiong Yao films create an ideal subjectivity for female audiences to identify with. Locations shots of spacious landscapes free protagonists'' bodies while art and literature free their minds. Watching Qiong Yao films is not to passively dream for an otherworldly romance but to reassure the value and spirit of individuality. The chapter argues that it is this romanticized individualism that attracted the young female audience whose subjectivity was denied by the patriarchal and urbanizing society of Taiwan in the 70s.

Abstract……………………………………..…….………………………………….. i
Chinese Abstract………………………………………………………..………… iii
Acknowledgements……………………...…………………………..…………… iv
Chapter One: The Cinematic Glory of Qiong Yao Cinema………...…… 1
Chapter Two: The Social and Cultural Binary Oppositions in Qiong
Yao Film Narrative……..…….…………..……………….…. 26
Chapter Three: Romanticizing Individualism: Nature, Literature, and
Art in Qiong Yao Films..…………………….…...……….. 56
Chapter Four: Conclusion…………………………………………….……. 84
Works Cited………………………………………………………………………… 90
Selective Qiong Yao Filmography……….…………..……………………… 93
Works Consulted………………………………………………………………… 95

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Qing, Ting (清庭). “Many Enchanting Nights: with All Grand Picture Stars” (國聯明星全體參加演出的:夕陽幾度紅). International Screen (國際電影). 124 (1966): 42-43.
Qiong Yao (瓊瑤). “Disputes Over Painted Waves of Love” (浪花的浪花何其多). Cinemart (銀色世界). 79 (1976): 24-25.
---. “The Event of Outside the Window” (窗外事件). Cinemart (銀色世界). 71 (1975) : 20-21.
---. “The Autumn Love Song and Posterity And Perplexity: Two of My Novels on the Screen”(秋歌及碧雲天:我的兩部小說被搬上銀幕). Cinemart (銀色世界). 71 (1975): 34-35.
---. “Girlfriend and Love Needs No Sorrow: Two of My Latest Films”(談談我最近的兩部電影: 女朋友與翦翦風). Cinemart (銀色世界). 70 (1975) : 24-25.
---. “Why Do I Write Far Away From Home”(我為什麼寫"人在天涯") Cinemart (銀色世界). 87 (1976): 41.
---. “Brigitte Lin: The Flower in the Mist”(林青霞像霧又像花). Cinemart (銀色世界). 90 (1977): 22-23.
---. “Joan Lin”(熱情爽朗的林鳳嬌). Cinemart (銀色世界). 92 (1977): 22-23.
---. “Film the Addiction” (電影電癮). Cinemart (銀色世界). 95 (1977): 21-22.
---. “Where Is the New Star” (新人在那裏?). Cinemart (銀色世界). 103 (1978): 24-25.
---. “I Don’t Understand” (我不懂). Cinemart (銀色世界). 109 (1979): 12-13.
“Qiong Yao and Chen Honglie: Different Paths to A Same Destination” (瓊瑤陳鴻烈:殊途同歸). Today Movie (今日電影). 21 (1977): 8-9.
San Sang (珊珊). “Far Away From Home: A Realist Film with Artistic Atmosphere” (人在天涯:充滿了藝術氣息的寫實電影). Zhen Shan Mei Movie Magazine (真善美). 46 (1977): 18-19.
Wang, Anni (王安妮). “An Interview with Qiong Yao”(檸檬茶邊訪瓊瑤). Cinemart (銀色世界). 60 (1974): 33.
Xiao Feng(暁鳳). “Who Is the First: Two Rainbows” (兩道彩虹飛奔:誰最先到達終點). Zhen Shan Mei Movie Magazine (真善美). 49 (1977): 30-31.
Xie, Lili (謝莉莉). “Women Directors From the Mud”(一群從泥巴里走出來的女導演). World Screen (世界電影). 146 (1980): 36.
Ye, Lan (葉蘭). “Chiang Ching and Wang Ling” (兩代女性:江青與汪玲為情所困). International Screen (國際電影). 127 (1966): 44-45.
Zheng, Xinyi (曾心儀). “Attention: The Qiong Yao Threats and the Reply to Prof. Wang Wenxin” (注意！「瓊瑤公害」兼以「瓊瑤問題」答覆王文興教授). The China Tide (夏潮). 4.3 (1978): 74-75.