張晏榕Chang, Yen-Jung謝瑋庭Hsieh, Wei-Ting2019-09-042024-12-312019-09-042019http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060572023H%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/99580台灣電影的類型越來越多元，其中又以驚悚類型電影的成長幅度為最高。除產量增加外，此類型的電影在過去幾年均有不俗的票房表現，為台灣的電影開鑿出另一種類型發展的可能。因此，本研究採用文本分析法，並以好萊塢編劇家Blake Snyder所提出的敘事結構理論作為研究工具，對2015至2017年的台灣驚悚類型電影進行類型與敘事結構的分析。本研究之目的為探討台灣驚悚類型電影之敘事結構的特性，此類型電影與好萊塢的敘事結構之關聯性為何，以及是否具備好萊塢驚悚類型電影應有的元素，是本研究欲釐清的問題。研究結果發現，台灣驚悚類型電影僅缺乏「天人交戰」與「副線」兩項結構，雖敘事結構的順序沒有完全依照Blake Snyder的理論進行，但並不影響電影文本的敘事能力與情節發展，與電影的票房表現也沒有直接的關係。台灣驚悚類型電影可再細分為「屋裡有怪物」與「犯罪動機」，且大多都具備以上兩種類型電影中的類型元素。「屋裡有怪物」類型的電影，取材均來自台灣鄉野怪談，呈現國人對於民間傳說的恐懼，且電影內容具有警世意味，要觀眾避免破壞承諾與社會規範。而在「犯罪動機」類型電影中，台灣驚悚片裡的主角常同時扮演執法者與犯罪者兩種身份，由主角親自追查自己的犯罪行為背後的秘密，且這些秘密大多與主角周遭親近的人有關。研究者也發現，此類型的台灣電影都選用較為負面的題材來當敘事主軸，結局多以悲傷或邪惡方的勝利作為收場。台灣電影環境在好萊塢長期的影響之下，在結構和類型的層面上，與好萊塢電影有著緊密的關聯性。待未來出現更多此類型之作品時，研究者期許文本間的互文性能有進一步的探討，電影敘事結構與產製方、商業表現兩端的關係，都是未來研究能延伸的範圍。The types of Taiwanese films are becoming more diverse. Among all types of movies, thriller genre movies have the highest growth rate. In addition to the increase in production, thriller genre movies succeeded at the box office in the past few years, and creating another type of development for Taiwanese movies. Therefore, this study adopts text analysis, and the narrative structure theory proposed by Hollywood screenwriter Blake Snyder as a research tool to analyze the genre and narrative part of Taiwan thriller genre movies from 2015 to 2017. The purpose of this study is to explore the characteristics of the narrative structure of Taiwan's thriller genre movies. The question that the study wants to clarify is the relevance of narrative structure between Taiwan thriller movies and Hollywood movies, and whether the genre movies have the genre elements of Hollywood thriller movies. The study found that Taiwanese thriller genre movies lacked the structure of "Debate" and the "B Story". Although the order of the narrative structure was not completely in accordance with Blake Snyder's theory, it did not affect the narrative ability and plot development of the film text. There is no direct relationship with the box office performance of the film. In the film genre section, Taiwan thriller movies can be further subdivided into "Monster in the house" and "Whydunnit", and most of them have the genre elements in the above two types of movies. The theme of "Monster in the house" is based on Taiwanese folk beliefs. It shows the fear of folklore by the Taiwanese, and the content of the movie warns the audience what can't be done. In the "Whydunnit" genre of films, the protagonist often plays both the law enforcer and the criminal. The protagonist is chasing the secret behind his or her criminal behavior, and most of these secrets are close to the protagonist. The research found that this genre of Taiwanese film uses a more negative theme to be the main axis of the narrative, and the ending ends with a hint of sadness. Under the long-term influence of Hollywood, Taiwanese movies have a close relationship with Hollywood movies in structure and genre. When there are more works of this genre in the future, the researcher hopes that the intertextuality between the texts will be further explored. The relationship between the film narrative structure, the producers and the commercial side is the scope beyond which future research can be extended.驚悚類型電影敘事結構thrillergenre moviesnarrative structure