以九型人格理論分析迪士尼近代動畫電影故事中主角之性格轉變

Abstract

迪士尼公司自1923年創立至今，以高品質的動畫電影作品擄獲觀眾的心。迪士尼動畫電影成功的關鍵，源自於故事、角色及音樂。動畫師與編劇為動畫角色注入了性格，角色便如同有了生命成為說書人為觀眾述說故事，並帶領觀眾進入電影、參與主角在故事中的心路歷程。近年來迪士尼動畫電影在主角的性格刻劃上更加多元，明顯的展現了主角的缺陷、弱點及自我意識，讓角色在故事中的行為、情緒更加真實。「角色」是故事中的重要元素，當角色成功吸引觀眾，觀眾便會愛上故事。「角色性格」決定了角色的命運及故事的走向，故事中的衝突事件引發主角性格的轉變，而主角的性格轉變也將故事推向不同的發展， 然而主角性格轉變甚少被提出探討。因此本研究將迪士尼近代家庭類及動作類共六部動畫電影為樣本，針對主角在故事中的性格轉變進行探討，採用文本分析法，將迪士尼近代動畫電影以三幕劇故事結構為基礎，將故事分為四個時間點，並依照時間點為主角進行性格描述，隨後使用九型人格簡易兩題性格題測將主角性格分類歸納，找出主角在故事當下之性格類型，最後使用九角圖成長走向、凋零走向進行比對找出性格轉變與九型人格的關聯性。研究結果得知迪士尼近代動畫電影主角在故事中展現符合九型人格理論的不同性格特質，並於故事分段點1時呈現同樣性格類型，然而九型人格簡易兩題性格題測無法完整瞭解主角性格全貌，且主角在故事中的性格轉變，依照九角圖的先後次序發展僅有16.6%。本研究認為九型人格理論可做為故事、電影角色性格設定的重要參考，但九角圖性格轉變之次序應用於故事中角色性格轉變功能並不明顯，這部分較難提供創作者與未來研究參考。Disney was founded in 1923, and kept producing high quality animation movies to gain popularity around the whole world. The key to the success is stories, characters and music in films. Screenwriters and animators design characters’ personality for animations, so they play their roles to tell stories for audience as if they are real. They also lead audience to participate in their journey throughout entire animated movies. In recent year, characters in Disney animation movies become more complicated and various, often displaying their flaws, weakness and self-consciousness and make their behavior and emotion more realistic. Characters is crucial element in stories and the key for audience to love it. A character’s personality determine the destiny of the character and the direction of the story. The major event of conflict change the protagonist’s temperament, and the change influences the direction of the storyline. However, the changing of character’s temperament in stories of Disney animations is seldom discussed in academia.This research focuses on six Family and Action Disney animations as examples to discuss the transformation of protagonist’s personality and the changing of temperament. The three-act structure are applied as basis for text analysis. Stories are divided into four parts and characters’ personalities are described in specific time point. “The Enneagram” quiz are applied to categories protagonists’ personalities at those specific time points described above. Finally, the “integration direction” and the “disintegration direction” based on Enneagram are summarized and analyzed. The result demonstrate that even the characters’ personalities are different, they fit well in the Enneagram theory. Moreover, at the first turning point in all stories, their personalities are the same type. However, the Enneagram quiz is possibly too simple to determine the completed protagonists’ personalities. Furthermore, with the progress of stories, only 16.6% of the transformation of characters’ temperament matches Enneagram prediction. In summary, we propose that the Enneagram theory is eligible to be important reference for the design of characters’ personalities in stories, but the function to apply the Enneagram personalities transformation in stories is not obvious, and should not be effective reference for narrative development and further research.