康台生魏良成Wei Liang Cheng2019-09-052007-7-282019-09-052007http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0094632110%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/103169本研究以電影中所使用的運鏡剪輯手法，探討連環漫畫文本創作時圖像間的組構關係。電影主要的圖像結構為單一畫面的運鏡與連續畫面的剪輯，運鏡所探討的是角度，焦距，取景的景別，以及構圖的視覺感受。影片剪輯講究的是視覺上的動線統合，與時間、空間的結構的連戲效果，以及表現意念型態的複雜性剪輯-蒙太奇手法。蒙太奇手法是以作者的意念為主，為表達事件的因果關係或矛盾衝突來組接鏡頭。 漫畫的結構分為兩個，外在的圖像形式為圖像與文字，串連的敘事手法為分格。運用電影的運鏡與剪接的論點，使漫畫展現更具有視覺效果的畫面，可以適度地誇張凸顯畫面的主題，不受電影裡真實景物的限制，在剪接方面，漫畫的分格畫面等於濃縮了電影的剪接手法，分格畫面應用連續性的剪輯來架構時間與空間的關係，保持視覺上的一致性，而在使用概念式的複雜性剪輯-蒙太奇的表現上，不受電影只能單一畫面的表現，更可以在頁面上展現『共時性』的不同次元畫面，使作者的意念充分表現。 在創作階段，以創作一系列的四格漫畫來實驗應證，先根據敘事理論與喜劇元素來分析劇本，決定敘事觀點與形式，根據主旨理念去作畫面的設計構圖。接著依據劇情使用相關的運鏡剪輯技巧，在畫面上配合情境展現不同的表現手法。並且運用前景、中景、背景，來表現景深，且經由手繪的藝術性表達，展現更特別的畫面效果。並運用分格來表現連續性畫面，每個畫面宛如剪接的鏡頭，並如同電影的方式來架構場景內的空間感，連戲效果，也運用較多的分格或者對白，來延長主觀時間感 有著理論性的依歸，讓筆者於創作時擁有完整的概念，並於此架構上發展出更具風格與深度的作品。The objective of this research is to study the structure of pictures in the strip cartoon by using cinematic framing and editing. The photography of movie is generally divided into the single cinematic framing and the sequential cinematic editing. The single cinematic framing includes angle, lens and shots. The sequential cinematic faming includes (1) visual continuity, (2) temporal and spatial structure, (3) a rhythm of cinematic framing, and (4) a complicated film editing displaying an idea (i.e. the Montage). The sequential cinematic editing emphasizes the temporal and spatial continuity of an event, and the extensibility of the whole structure as well as the visual continuity of the audience. However, the Montage focuses on the thought of the creator and the expression of figures showing either the relationship between occurrence and fate or conflicting of an event. The extraneous structure of a comic consists of graphs and text, and presents a story as framing. The cinematic framing and editing are often used to analyze the performance of a comic article. The application of the movie cinematic framing on the comic is great to show the visible effect, more flexible on other objectives. In other words, the cinematic framing and editing are not inhibited by the real scenery in the movie. Instead, it can be appropriately to amplify the objective of the film. In film editing, the comic framing is similar to the concentrated cinematic framing approach. In each comic framing, the visible continuity can be archived by a sequential film editing applying on the relationship between temporal and spatial variations. Another important application of the comic framing is on the complicated film editing (the Montage) because the comic framing can be performed by multiple screens simultaneously rather than a single screen. Thus, the comic framing not only displays multiple graphs together, but also shows the idea of a creator. To test the above idea, a four-comic framing is conducted in a creative stage in terms of descriptive theory and comedic elements to evaluate drama and to decide viewpoint and style as well as the structure design of a graph. Furthermore, the film editing is also applying on the drama and coordinately with different scenes on the pictures. One can use foreground, middle distance and background to express depth of field as well as panting artistry in order to show excellent screen effect. Additionally, one can use comic framing to display sequential screens analogous to the editing film, spatial structure and persistent effect in the movie. One also can use mores comic framings or dialogue to prolong author’s temporal feeling and to fully express the whole concept of an author.電影運鏡剪輯漫畫Cinematic ShotsClip-editingComic