電影攝影與美術設計人才專業核心素養之研究

Abstract

電影藝術發展在二十一世紀已進入全面數位化的時代，即使製作流程不同於類比時代的電影底片，電影創作仍是需要整個團隊各司其職、合作執行的工作，除了導演的創作涵養之外，專業電影製作人才的精確執行，是成就電影作品的執行推手，尤其扮演導演左右手的重要劇組角色─「電影攝影師」與「電影美術設計師」。本研究旨在建構電影攝影與美術設計人才所應具備的專業核心素養，研究者分別探究專業素養概念、電影藝術製作理論、臺灣電影製作人才培育專業核心能力現況分析，以及電影攝影與美術設計人才專業核心素養之內涵研究，作為本研究內涵建構之理論基礎。

研究使用質性與量化分析法，透過文獻分析、內容分析、訪談法、與Delphi研究法的運用，進行資料蒐集、分析與討論，取得電影攝影與美術設計人才專業核心素養之3大面向、21則項目與136則內涵。本研究實施分為兩個階段，第一階段取得「專業知識」、「專業能力」、「專業態度」三個面向之下之電影攝影與美術設計的專業素養內涵；第二階段以專業素養的內涵為基礎，進一步取得電影攝影與電影美術設計人才之核心素養。

最後，根據研究之過程與結論，提供建議給電影教育機構進行規劃電影攝影與電影美術設計課程時，能有效地提升學生的專業知識、專業能力與專業態度，並思索「師徒制」觀念導入學校電影教育體系的可行性，另外，也對有志於從事電影攝影與美術設計工作者提供自我學習的參考與電影產業職涯的發展方向。The development of cinema in the 21st century has been in fully digital era. Although the film production process has been changed, cinema creation is still a teamwork to perform their duties and cooperate in execution. In addition to director’s creative cultivation, the precise execution of professional production talents are important key factor for the achievement of creation. Especially cinematographer and production designer, they play important crew roles assisting director’s planning in visual. This study aims at developing the content of professional core competence for cinematographer and production designer. The theoretical foundation was based on the concepts of professional core competence, the theories of cinema production the analysis of current status of cultivating professional core competence for cinematographer and production designer in Taiwan.

The study applied both qualitative and quantitative methods to collect, analyze and discuss data to obtain the various dimensions, categories, and items of the content of professional core competence for cinematographer and art director in cinema. Literature review, content analysis, interview, and Delphi method are used in the study. Two stages are involved in the process. The results in the first stage reveal that three dimensions: ‘professional knowledge’, ‘professional ability’ and ‘professional attitude’ as well as 21 different categories and 136 items of the professional competence for cinematographer and production designer. In the second stage, based on the content of the professional competence are further explored as the professional core competence for cinematographer and production designer.

Finally, based on the analysis and conclusions presented in this study, suggestions are made up for educational institutions to effectively enhance student professional knowledge, ability and attitudes when conducting curriculum planning and design. Then these make us think about the feasibility of introducing the concept of"Meister-Lehrling-System" into cinema education in college. The study result will be used as references to self-learning for those who are interested in cinematographer and production designer. Directions for cinema industry career will be provided as well.