臺灣博碩士論文加值系統

這部影片是關於愛情和慾望以及幻覺和現實。它發展出兩種不成功的男女關係。一種是因兩方的愛情關係而來，另一種是從彼此的慾望發展出來。兩種關係最終都會失敗﹐因主角無法避免地對於新的對象，產生理想化的幻想而引起錯覺。這部影片是呈現兩性關係中的孤單狀態。
「木門」在片中是男主角陷入毒癮的比喻，也同時說明男主角偏愛幻覺多於現實。
「故障」是以喜劇的形式，企圖展現角色內在的痛苦。當戀情結束，面對悲哀時﹐很容易得了憂鬱症和失去生活的意義。這個心理的狀態就很像故障的狀態。
寫這個劇本的主要原因是因為我自己曾經經歷故障的狀態，很希望內在的心情可以透過影片與觀眾分享。
「故障」呈現導演對於愛情和男女關係很悲觀的看法，並且此看法在片尾更趨嚴重。

This film deals with love and desire, illusion and reality. It shows two unsuccessful relationships, one supposedly based on love, the other one built on desire. Both of them are a failure, because of an unavoidable idealization of the partner that blinds the characters. This film deals with relationships but shows loneliness.
The wooden door is a metaphor of drug addiction and shows the main character’s preference of illusion over reality.
“Out of order” is a comedy, but it shows people in pain. Confronted to an unbearable sorrow, one can easily become depressed and lose the sense of life, which is really closed to an “out of order” state.
This plot aired mainly because I have been through an “out of order” state for a while. This is the reason why I wanted to express this uneasiness, to give it a shape, and to share it with an audience.
“Out of order” presents a quite pessimistic point of view about love and relationship. Moreover its structure brings the characters into a more problematic situation at the end.

English abstract……………………………………………………………………...…………ii
Chinese abstract…………………………………………………………………………….…iii
Forewords…………..……………………………………………………………………....…iv
Table of contents…………………………………………………………………………….....v
Chapter I : The creative frame………………………………………………………………..P8
A- Origins of the script…………………………………………………………….…P8
B- Goal of the artwork…………………………………………………………….…P9
1- The content…………………………………………………………………..P10
2- The form………………………………………………………...………...…P10
C- Distinctive features: in search of the difference…………………………………P11
D- Expected effects……………………………………………………………...….P11
E- Anticipated problems……………………………………………………………P12
1- Technical problems…...……………………………………………………..P12
2- Organizational problems...………………………………………………..…P13
3- Actors……………………………………………………………………..…P13
Chapter II: Documentation and investigations…………………………………………...…P14
A- Filmmaking…………………………………………………………………...…P14
1- Scriptwriting……………………………………….……………………...…P15
2- Script breakdown / shooting script…………………...…………………...…P17
B- Men, women, desire, addiction: a personal quest for understanding……………P18
1- My view of women.…...………………………………………………….…P18
2- Expectations and desire…………………………………………………...…P19
3- Addiction…………….…………………………….……………………...…P22
C- Basic content analysis of “Out of order”……………………………………...…P23
1- Phil and Huihui’s interaction………………………………………...…...…P23
2- The ending………………………………………………………………...…P24
3- The request…………………………………………………………………..P25
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Chapter III: Artwork breakdown……………………………………………………………P26
A- Synopsis…………………………………………………………………………P26
1- Original synopsis, Chinese version.……………….…………………...……P26
2- Actual synopsis, English version………………………..............………..…P27
B- Script design and original intentions…………….………………………………P27
1- Title....…………………………………………………………………….…P27
2- Characters……………………………………………….………………...…P28
3- Interaction…………………...………………………………………………P28
4- Structure chart….…………………………….……………………………...P29
C- Topics of the work…………………………………………………..…………..P35
1- Unsuccessful relationships…………………………………………….….…P35
2- Idealization of the partner………………………………………………...…P35
3- The “out of order” condition…………………………………………...……P36
D- Cinematographic expression………………………………………………….…P36
1- Photography…………………………………………………………………P36
2- Lighting…………………………………………………………………...…P37
3- Artistic directing………………………………………………………….…P38
4- Soundtrack and sound creation……………………………………………...P39
Chapter IV: The production…………………………………………………………………P41
A- The pre-production………...………………………………………………….…P41
1- The team……………….………………………………………………….…P41
2- Homeworks…………………………………………………………….……P42
3- Casting and actors……………………….………………………………..…P43
4- Finding locations………………………….…………..............………..……P44
5- Communication and human relationships…………..……………………….P45
B- The shooting…….……………………………………………………………….P46
1- Shooting plan / storyboard………………………………………………..…P46
2- Directing actors……………………………………………….…………..…P47
3- Photography….…………………………….……………………………..…P48
4- Human relationships………………………...………………………………P49
C- The post-production: the biggest pain, the best relief………………………...…P50
vii
1- Rewriting a new script through editing…………………………………...…P50
2- Some important points of the final edit…………………………………...…P51
3- Sound mixing……………………………………………………………..…P52
D- Public screening……………….………………………………………………...P52
References…………………………………………………………………………………...P55
Appendix 1: Script, seventh version (Chinese)……………………………………………..P57
Appendix 2: Budget chart………………………………………………………………...…P70
Appendix 3: Production rundown……………….…………………………………………..P74
Appendix 4: Shooting rundown…………………………………………………………..…P75
Appendix 5: Expenses reports………………………………………………………………P81
1- Producer’s report…………………………………………………………….P81
2- Artistic direction team’s report………………………..…………………….P84
Appendix 6: Crew…………………………………………………………………..……….P88
Appendix 7: Director’s filmography………………………………….……………………..P89
Appendix 8: Note about the Nikon D90 camera…………………..………………………...P90
Appendix 9: Pictures……………………………………………………………….…..……P92

1- Books
- Marie-France Briselance, « Leçons de scenario, Les 36 situations dramatiques », nouveau monde éditions, 2006. (« Scriptwriting courses. The 36 dramatic situations ») - Michel Chion, « Ecrire un scenario », Editions cahier du cinéma, 2007. (« Scriptwriting ») - Steven D. Katz « Réaliser ses films plan par plan » Editions Eyrolles, 2007 (translated from « Film Directing, Shot by Shot ») - Cyrille J.-D. Javary, Pierre Faure « Yijing Le livre des changements », Albin Michel, 2003. (« Yijing, the book of change »)
2- Publications
- Rose-Paule Vinciguerra « Les paradoxes de l’amour », Lettre en ligne de l’Ecole de la Cause Freudienne. (« The paradoxes of love », the School of the Freudian Cause, Online Letter, English translation available: http://www.londonsociety-nls.org.uk/Vinciguerra_paradoxes.htm - Claude Escande, « Jouissance du corps, addictions et figures du ravage », Le Portique, Numéro 10 - 2002, Les paradis artificiels, 2002. (« Body pleasure, addictions and devastation figures »)
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3- Audio-visual material and films
- « Hollywood camera work. The Master course » Volume I and II, Hollywood camera work LLC, 2004 - Woody Allen, « Annie Hall », 1977 - Michel Gondry, « Eternal sunshine of the spotless mind », 2004 - Michel Gondry, « The science of sleep », 2006 - Takeshi Kitano, « Glory to the filmmaker », 2008 - Jan Kounen « 99 Francs », 2007 - Darren Aronosfski « Requiem for a dream », 2001 - Spike Jonze « Being John Malkovitch », 1999 - David Cronenberg « The naked lunch », 1992 - David Cronenberg « eXistenZ », 1999 - Joel & Ethan Coen « The big Lebowsky », 1999