| Abstract: | 威尼斯影展是隸屬於西方人的影展，而我華人電影在西方人眼中是有甚麼特色能吸引西方評審的青睞？是否在鏡頭運鏡手法的運用有其特色？然而在文獻中有研究者就以西方人去拍攝東方內容的劇情，去探究西方人對東方文化的視覺研究，而我華人文化拍攝手法，是運用甚麼運鏡手法能受到西方評審青睞？本論文主要以威尼斯影展(1931-2020)，得到《金獅獎》華人導演作品的關鍵劇情之運鏡模式為研究對象。利用文本分析及專家訪談進行文獻資料的蒐集、分析，並配合專家與團體的訪談，目的是探討電影劇情結構與運鏡的關聯性，並提供電影分鏡實務上的腳本設計做為參考。本研究針對威尼斯影展《金獅獎》得獎華人導演作品進行分析，採用內容分析法及專家訪談法，分析電影劇情結構以三幕劇形式分出幕與關鍵劇情，以類目分析形式分出運鏡設計的關聯與原則。經過兩階段的測量交叉分析，樣本共7部電影，總共752個場景情節，關鍵劇情34個場景，74個關鍵劇情分析鏡頭，總共分析出459個鏡頭使用變化形式。研究結果如下：1.電影劇幕安排的緊湊以及節奏，第一幕鋪陳來說《悲情城市》、《三峽好人》、《一個都不能少》其數據都超過30%，從這顯示以上的劇情都屬於調性較慢的電影，然而在李安的《斷背山》、《色，戒》、《秋菊打官司》、《愛情萬歲》都只有在20%~22%，在步調節奏上都是顯示出較快的。第二幕是屬於導演安排的劇情事件累積數量，因電影公司或者製片所訂立之類型不同，所需會影響其劇情事件衝突的質量，其安排事件衝突比例最高是李安導演的《色，戒》69%，其他也都在60%以上，最低則是《一個都不能少》卻花了57%來解決角色衝突，由此顯示大部分的電影都較為注重第二幕的衝突事件的安排，另外一提《三峽好人》電影，其故事分為男女主角的各自二個主線。在男主角部份，雖然賈樟柯導演男主角角色衝突(54.3%)但在女主角部份，導演使用了27分2秒來解決角色衝突(76.3%)，卻也拉高了角色的衝突比例。第三幕除了蔡明亮導演的《愛情萬歲》作品15%之外，大多都不會用太長的時間去留餘韻，其他比例為4%~12%，最低為《悲情城市》侯孝賢導演使用了7分鐘留餘韻(4%)。可見在於七部作品背後的事件解決完，大部分的創作者還是把整部作品多的預留空間，留給劇情事件的衝突跟安排。然而在鋪陳劇情人物背景中若花了太久的時間，則會讓觀眾顯得步調乏味緩慢，而在行動過程中，事件的堆累較多，會顯得劇情緊湊而第三幕解答與餘韻解決事件中，要有別一般結局才會顯的劇情精彩。2.在劇情線強度與影像鏡頭技術關係描述中發現，總場次鏡頭為83個關鍵鏡頭，其經劇情而變化鏡頭則為459個，這表示其劇情需要以5倍以上的鏡頭量去支撐改變運鏡的模式。其鏡頭景別（最多）表現形式，是以特寫（20個）為主要景別，而次要景別為中近景鏡頭（19個），這表示在達到劇情高潮時，其主要是以角色臉部表情的呈現方式，來增加劇情的衝突性，引導延伸醞釀高潮的延續，並有助於強化其劇情的強度之功能，並於高潮後透過鏡頭的轉換亦可以緩和觀眾的視覺；而高強度為了解答次強度的問題，次要表現形式為中近景回應，這景別可給觀眾相當的肢體張力，對角色的動作舉止有相當的檢視作用，及表現動作的重要性，若減少則會多帶給觀者思考及疑惑；過場鏡頭，主要是以直接切入（71個）的方式呈現，它所代表的是時間的不間斷性，能給觀者直接了當的感覺，次要為淡出（3個），手法中是要讓觀者毫無感覺的感受不到過場特效給人的切入感，也代表事件的結束；運鏡（最多）主要是固定（67個）鏡頭，這是要帶給觀者能專心仔細並去看清楚畫面的內容，次要為破水平（15個）鏡頭，這是讓觀者感受到不安以及緊張的氛圍；角度主要為平視角（53個）鏡頭，這是要讓觀者能與作品中之人物有平等的地位（同理心），而次要為俯角（17個）鏡頭，有著（客觀）窺探的意味，並可再強化其劇情的衝突性及增加劇情的強度，這是創作者引領觀者窺探的角度去呈現畫面，而藉由鏡頭的轉換可以醞釀觀眾對於劇情解答的期待。而觀點則是以客觀（60個）為主要觀點方式去呈現，這是希望能與觀者達到共鳴而不會有藝術家自溺創作的觀感，次要為反應鏡頭（18個）去呈現，其主要是要讓觀者了解到，當事件或者動作給與被攝者所激發表情反應或動作表現為何。 3.由於關鍵劇情大部分劇幕過程當中，是座落在Act1（劇情當中的問題發生或事件的引發）及Act3（公佈答案以前），亦此，透過文本分析及專家的測量、訪談內容分析，歸納出影響金獅獎得獎華人導演作品之鏡頭運用手法有5個鏡頭構面，分別在「景別」、「過場」、「運鏡」、「視角」及「觀點」，使用有30種鏡頭類型手法。4.另在分析當中，除得出導演慣用手法外，本研究亦得出其導演特殊運鏡風格，會慣用長鏡頭的導演有四位《悲情城市》(1989)侯孝賢導演，他將所有相關演員都集中於畫面之中，不會因為演員說話或者動作就馬上跳到特寫或者中近景去拍攝。《秋菊打官司》(1992)張藝謀導演，釋放了大量的演員，甚至省略了主角跟焦，其風格是不會讓主角不會一開始就有先入為主的感覺。《愛情萬歲》(1994)蔡明亮導演，去增加場域與人的關係，而非固定式的。《三峽好人》(2006)賈樟柯導演，著重演員與環境間的關係，從頭到尾跟焦演員，從演員動作至表情的刻畫去表現整體。其另三部電影則慣用特寫鏡頭的導演有二位，《一個都不能少》(1999)張藝謀導演，細細刻劃演員表情，感覺手法樸實卻有張力外，還會加上用，鏡頭拍攝人以外的道具物品（例如：攝影機、粉筆），去讓角色與道具有互動的反應，更增添環境物品符號與人物反應的氛圍。《斷背山》（2005）李安導演，使用了大量的鏡頭角度特寫迅速跟焦，並配合中遠景，其風格是讓畫面感覺混亂及緊張。《色，戒》（2007）李安導演，專注刻劃演員表情及說話。 本研究結果呈現威尼斯影展得獎作品中，華人導演的劇情安排之發展情形，與使用鏡頭設計之風格特色，探討上述二者是如何反映當時電影劇情手法幕劇之變化；並從中試圖闡釋電影藝術技法是如何闡明大眾傳媒的觀點；此外，本文也著重研究鏡頭之運鏡選擇，以及導演對於各種鏡頭之構成與運作模式，所傳達出劇本的內涵意義。綜上所得不同程度關鍵劇情之運鏡模式的要素權重比與鏡頭的選用，係提供影像設計教學，以及業界創作與設計實務之參考。
The Venice Film Festival is part of the Western Film Festival, and what features of the Chinese director's film can attract the favor of Western judges? Does it have its own characteristics in the use of the camera movement? Some literature use Westerners to film the Eastern cultural content plot, to explore Westerners’ visual studies of Eastern culture, as for the Chinese director's filming style, what is the camera movement can attract the favor of Western judges? This thesis mainly focuses on the camera movement in the key plot of the Chinese director's work that won the "Golden Lion Award" at the Venice Film Festival (1931-2020). Use textual analysis and expert interviews to collect and analyze literature materials, and cooperate with experts and group interviews, the purpose is to explore the relevance of the film's plot Structure and the Camera Movement, and provide script design in the practice of the storyboard as a reference. This study analyzes Chinese director's work which winning the "Golden Lion Award" at the Venice Film Festival. It uses content analysis and expert interviews. It uses three-act drama to analyze the structure of the plot and to separate the act and the key plot, and uses category analysis to separate the relevance and principles of the camera movement design. After two-stage measurement cross-analysis, the sample included a total of 7 movies, with a total of 752 language of technology, 34 key scenarios, 74 key plot analysis shots, and a total of 459 shots use variations. The research results are as follows:1. The tightness and rhythm of the film's plots arrangement, In the first act exposition, the data of "A City of Sadness", "Still Life" and "Not One Less" are all more than 30%. This shows that the above plots are all slow-toned movies. However, in"Brokeback Mountain", "Lust, Caution", "The Story of Qiu Ju" and "Vive l'Amour" are only 20%~22%, and they all show the rhythm are faster. The second act is the cumulative number of plot events arranged by the director. The number of conflicts in plot events will be affected due to the different types established by the film company or Producer. The highest proportion of conflicts is 69% in "Lust, Caution" directed by Ang Lee, and others are above 60%, except for the lowest, "Not One Less" it took 57% to resolve role conflicts, It shows that the majority of movies are more focused on arrangements of conflict events in the second act. In addition, in the movie "Still Life", the story is divided into two main lines of the main actor and the main actress. In the main actor part, although Director Jia Zhangke only accounted for 54.3% of the main actor role conflict, But for the main actress, the director used 27 minutes and 2 seconds to resolve role conflicts (76.3%), which also increased the overall role conflict ratio. In the third act, except for the 15% of "Vive l'Amour" directed by Cai Mingliang, most of them didn't take too long to leave the after rhyme. The proportion of other movies is 4%~12%, the lowest is "A City of Sadness" directed by Hou Xiaoxian ,only used 7 minutes (4%) to leave the after rhyme. It can be seen that after the events behind the film are resolved, most of the director leave the extra space to the conflicts and arrangements of the plot events. However, if you spend too long in laying out the characters in the plot, it will make the audience appear tedious and slow. In the course of the action, more events will appear compact. And the answer to the third act and the after rhyme, the plot will only show up with a different general ending.2. In the relationship between the story Intensity and the Camera Movement technology, it is found that the total number of shots is 83 key shots, and the number of shot use variations in the plot is 459, which means that the plot needs more than 5 times amount of shots to support changing the Camera Movement. The shot (most) is presented in the form of Close-Up (20) as the main shots, and the secondary shots are Medium Close-Up (19), This means that when the climax of the plot is reached, the main way of presenting the facial expressions of the characters is to increase the conflict of the plot, guide the continuation of the climax, and help strengthen the intensity of the plot. The shot change after climax can also ease the viewer's vision, high intensity is the answer of second intensity. The secondary form of expression is Medium Close-Up shot. This shot can give the audience considerable physical tension, have a considerable inspection effect on the behavior of the character, and the importance of the performance of the action. If it is reduced, it will bring more thinking and doubts to the viewer; The main form of transition shot is Cut-To (71),It represents the uninterrupted nature of time, which gives the viewer a direct feeling.Secondary is Fade-Out (3), it‘s to make the viewer not feel the cut-to of transition special effects,also represents the end of the event. The main form of the camera movement is Fixed Mirror (67), giving the viewer to concentrate on the contents of the picture. And the secondary is the Cant Shot (15), this is to make the viewer feel uneasy and nervous atmosphere. The angles form is mainly Eye Level Shot (53), this is to allow viewers to have equal status with the characters in the film (empathy).And the second is the Low (17), it has the meaning of (objective) prying, and can further strengthen the conflict and the intensity of the plot.Using a prying angle to present the picture, with the conversion of the shot to brew the audience's expectations for plot answers. The view form is mainly Objective Point of View (60), it's hope resonate with viewers without the perception of the artist Self-drowning.The secondary is the Reaction Shot (18), he main purpose is to let the viewer understand what the facial expression or action response stimulated by the actor when the event or action is.3. Because most of the key plots are located in Act1 (the occurrence of problems or events in the plot) and Act3 (before the answer is announced), through textual analysis, expert measurement and interview content analysis, it is concluded that there are 5 shot aspects in the shot application techniques that influence the works of the Golden Lion Award-winning Chinese directors. There are 30 shot types used in "Type of Shot", "Transition", "Camera Movement", "Angles" and "View".4. In the analysis, in addition to the director’s usual tactics, this research also observes the director’s special lens style. There are four directors who are accustomed to using long shots: "A City of Sadness" (1989) Director Hou Hsiao-Hsien,He concentrates all relevant actors in the screen, and will not immediately jump to Close-Up or Medium Close-Up just because the actors speak or move. "The Story of Qiu Ju" (1992) Director Zhang Yi-mou,Released a large number of actors, and even omitted the protagonist's focus. Its style will not make the protagonist feel preconceived from the beginning. "Vive l'Amour" (1994) Director Tsai Ming-Liang,To increase the relationship between the field and people, not a fixed one. "Still Life" (2006) Director Jia Zhang-ke,Focus on the relationship between the actors and the environment, follow the actors from beginning to end, and express the whole from the actors' movements to the expressions. For the other three films, there are two directors who are used to using Close-Up shots. "Not One Less" (1999) Director Zhang Yi-mou,The actor's facial expressions are depicted in detail, and the technique feels simple but tense. It will also shoot props and items other than actors (for example: cameras, chalk),let the characters to interact with the props, and to increase the atmosphere of environmental objects and characters’ reactions. "Brokeback Mountain" (2005) Director Ang Lee,Use a lot of Close-Up shots to quickly follow the focus, and use the Medium Long Shots, the style is to make the picture feel chaotic and tense. "Lust, Caution" (2007) Director Ang Lee,Focus on depicting the actor's expression and speaking. The results of this study show the development of the plot arrangement of the Chinese directors in the award-winning films of the Venice Film Festival, and the style characteristics use in the shots design, and explore how the above two reflect the changes in the plot of the film at that time; And try to explain how the movie art techniques clarifies the viewpoint of the mass media; In addition, this article also focuses on the choice of camera movement for the shots, and the director's composition and operation mode of various shots, which conveys the connotation of the script. In summary, the factor weighting ratio and shots selection of the different scenarios of the Camera Movement modes of the key plots provide reference for shots design teaching and creation industry and design practice. |
