剪輯手法應用於圖畫故事書之創作研究

Abstract

本研究以電影中所用之剪輯手法，重新思考創作者於圖畫故事書的創作中圖像與圖像間的組構關係。剪輯手法以美學角度視之可分為連續性剪輯與複雜性剪輯。連續性剪輯講求圖像與圖像間在視覺上的慣性；複雜性剪輯比連續性剪輯更重視事件的深度意涵和整體結構上的情節推演。複雜性剪輯中的分析性蒙太奇照情節發展的時空以及因果關係來組接鏡頭，讓情節的推動更為順暢，加上觀念聯想性的蒙太奇則可以豐富故事的內涵。並以鏡頭推演的三個變項─鏡頭距離的變化、畫面空間轉移與鏡頭角度改變作為分析故事進行間的圖像、時間、空間串聯後所造成的節奏。 創作分析階段中，則以模仿一部電影整體的剪輯模式為創作依歸。而創作執行階段則以敘述性設計的方法拆解故事中的主題、子題與題素，並對照創作分析階段中所得之整體剪輯模式，使題素轉化為圖像，以達成下列目的：（1）主題的昇華與結構的重整；（2）營造氣氛與節奏的變化；（3）產生脈絡的聯想；（4）創造運動。This study helps illustrators rethink relationship of pictures in picture story books with film editing. Editing means building an event to tell a story. Within an aesthetic context, there are two major editing categories: continuity editing and complexity editing. Continuity editing concerns primarily with convention of the story. And complexity editing concerns with intensification of an event and the plot development. Analytic montage condenses an event into developmental elements and presents these elements in their original cause-effect sequence or subjective event progression. And idea-associative montage enriches the intension of a story. Furthermore, in order to analyze the rhythmic relations in story we use frame distance, screen space and frame angle as three major variables in this study. Before I start my creation work I try to imitate entire film editing model. Then, at the stage of execution I attempt to disassemble the motif, sub-theme, and theme in a story with “narrative design”, contrasting entire film editing model to transform texts in the story into images. Further more, we can accomplish purposes as follow: (1) Recreate the motif and rebuild the structure. (2) Create an atmosphere and change the rhythm. (3) Generate association of ideas. (4) Create motions.