懷舊美感在災難重建中之社會內涵與加值效益探討—以日劇《小海女》為例
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2015
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在海嘯巨大災難後的第二年，要籌拍一部以海為主題的電視劇，還背負著協助災地復興的使命。藝術將如何陪伴災民走出恐懼並協助其他次災地及非災民等受壓抑於災難威脅下的心靈呢？
本研究分析懷舊美學及時空元素如何透過電視戲劇及網路社群在繭居社會中協助災後重建，擬以日本311海嘯後將災後社會意識化為戲劇內涵的日本晨間劇《小海女》為研究案例。文分六章，首先釐清採用懷舊美感及時空穿越策略建立集體記憶以滿足災地、次災地及非災地三重結構觀眾的需求。接著分析日劇《小海女》的製作設計如何以感動行銷引起觀眾感情投射，透過《小海女》的文本詮釋、收視率分析及質性研究深度訪談以分析NHK電視台製作本劇所獲得的迴響。並以質性訪談日本《小海女》劇拍攝地久慈市災民以獲取第一手災地在日本311海嘯後四年的的復興狀況及該劇帶來的加值效益。
美好景物的再現、傳統價值的重現、以及生命的記憶回溯過程，都隱含著具療癒效果的懷舊美感。觀眾從中萌發審美及創作意識，在社群網路上分享「海女畫」，進而促進了本劇的收視率及討論熱度。本研究從「海女畫」的粉絲創作探討動漫文化與影視戲劇以及地方振興互動之特殊模式，並從其他電影、廣告、穿越劇案例中蒐集懷舊美感的新舊互文創意表現方式。探討懷舊手法應如何因應時代快速轉變，而《小海女》的設計安排是否能成功引起老中青三代觀眾感情投射。
倘若《小海女》影視創意的新舊拼貼可以帶來新價值，不僅可反省災難歷史，並且能重新給予未來希望，更能網羅各年齡、各地的觀賞族群。處於天災人禍、紛擾動蕩的時代氛圍中，轉而從過去尋找安全感及永恆生命價值的影視觀賞過程或許也是一種集體療癒。身為一位藝術家，應該運用深切細膩的生命領悟及美感觀照傾聽災民心聲，藉由找回記憶錨點、流行文化包裝、影視傳播鼓勵、網路社群連結，協助災民心靈重建及文化振興。
Could works of art, as one of probable methods in the healing of post-traumatic stress, be able to help rebuild the community following major disasters? In the face of the ferocious competition of advanced modern technologies, how could the video& film or cultural creative industry in general is able to relieve the people from pressure by employing flashback technique in artistic presentations? How works of art to sooth the broken heart of victims may recall nostalgic beauty of the past after catastrophic events? What societal psychology may be suggested behind popularity of specific artistic technique intertwining present with past in modern drama? How the presentation technique may be utilized to produce synergistic effect for the cultural as well as creative industries. Based on the Japanese TV drama “Amachan”, a program showing protagonist female idol seeker in Tokyo returned to home town of Tohoku to help revitalize the community after Japan 311 Tsunami, this study not only analyzed the specific presentation of nostalgic beauty and the synergistic effect of the series but also compared various film and TV drama employing same technique in dealing with humanistic concerns of modern digitalsociety. The study is divided into seven chapters. The context and intension of “Amachan” was explained before the roles of creative art might be able to play in post-disaster community rebuilt was briefed in the beginning. Psychological background of modern society in need of specific retrospective technique popular in current film/TV industry was further discussed. By way of content, rating analysis and first-hand qualitative interviews with Tohoku local people as well as post-disaster rebuilders in both Japan and Taiwan, it had been confirmed that nostalgic beauty of the past not only had positive effect on post-traumatic healing but also was able to help community rebuilt by way of its artistic presentation and collective memory. Living in the world filled with natural as well as man-made calamities, people used to turned to past to look for spiritual stability as well as true meaning of life. No matter how different the observing angles as well as artistic ways of expressions with respect to life could be, the current fashionable way to help people recall the beauty of past by artists, employing intentional flashback technique, will always win wide acclaims in post-disaster reconstruction. By doing so, every age groups of audience was able to find something interesting, either to reflect on current time or to redefine prospective future.
Could works of art, as one of probable methods in the healing of post-traumatic stress, be able to help rebuild the community following major disasters? In the face of the ferocious competition of advanced modern technologies, how could the video& film or cultural creative industry in general is able to relieve the people from pressure by employing flashback technique in artistic presentations? How works of art to sooth the broken heart of victims may recall nostalgic beauty of the past after catastrophic events? What societal psychology may be suggested behind popularity of specific artistic technique intertwining present with past in modern drama? How the presentation technique may be utilized to produce synergistic effect for the cultural as well as creative industries. Based on the Japanese TV drama “Amachan”, a program showing protagonist female idol seeker in Tokyo returned to home town of Tohoku to help revitalize the community after Japan 311 Tsunami, this study not only analyzed the specific presentation of nostalgic beauty and the synergistic effect of the series but also compared various film and TV drama employing same technique in dealing with humanistic concerns of modern digitalsociety. The study is divided into seven chapters. The context and intension of “Amachan” was explained before the roles of creative art might be able to play in post-disaster community rebuilt was briefed in the beginning. Psychological background of modern society in need of specific retrospective technique popular in current film/TV industry was further discussed. By way of content, rating analysis and first-hand qualitative interviews with Tohoku local people as well as post-disaster rebuilders in both Japan and Taiwan, it had been confirmed that nostalgic beauty of the past not only had positive effect on post-traumatic healing but also was able to help community rebuilt by way of its artistic presentation and collective memory. Living in the world filled with natural as well as man-made calamities, people used to turned to past to look for spiritual stability as well as true meaning of life. No matter how different the observing angles as well as artistic ways of expressions with respect to life could be, the current fashionable way to help people recall the beauty of past by artists, employing intentional flashback technique, will always win wide acclaims in post-disaster reconstruction. By doing so, every age groups of audience was able to find something interesting, either to reflect on current time or to redefine prospective future.
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懷舊, 災後振興, 小海女, 海嘯, 電視劇, nostalgia, post-disaster reconstruction, Amachan, tsunami, TV drama