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研究生:陸敬孝
研究生(外文):LU,ching-shiao
論文名稱:悲傷湖泊
論文名稱(外文):Lake of Shorrow
指導教授:朱全斌朱全斌引用關係
指導教授(外文):Zhu,quan-bin
學位類別:碩士
校院名稱:國立臺灣藝術大學
系所名稱:應用媒體藝術研究所
學門:藝術學門
學類:應用藝術學類
論文種類:學術論文
畢業學年度:97
中文關鍵詞:悲傷湖泊
外文關鍵詞:Lake of Sorrow
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一段小時候住在東部的記憶,開闊的田園,滿眼看去沒有任何障礙,唯一有的是藍天底下的深青色山脈,六歲時的雙腳,像是沒有骨骼肌肉的限制,不斷向前奔跑,永遠不慮匱乏的能量,只想看看山脈為何坐在地平線上,不斷的奔跑、、陽光下舞動的身影映照在大地之上。

三十多年後,攝影機似乎代替了雙腳,那股能量仍然沒有限制,記錄的是光影下的律動人生,念研究所第二部創作『悲傷湖泊』或許就是生命光影的濃縮,雖然其製片的過程有些曲折,但想要聚焦的主題並未改變,想要表達的或許是對於城市的知覺感受,那是一種模糊而無法釐清的態度,或許某一程度上已被地表上的水泥固體給同化了,『悲傷湖泊』片子長三十餘分,使用3CCD高畫質DV攝影,在作品的形式上大膽的使用實拍與動畫特效交互結合,完全是導演一人獨力完成,花費的精神、時間可說數倍於一般的學生製片,如果說是用兩部畢製來完成一部作品並不為過,影片中的人物阿政、小魚、母親、毛毛交織出的親情、友情或愛情,有些價值看似瓦解消失,而有些則在醞釀生機,整部影片的調性有點溫吞緩慢,但不並是一個悲觀的結束。

本篇創作論文包含『悲傷湖泊』的創作背景,前面部分說明筆者的觀影經歷,從國中至研究所,大致說明幾部對於作者影響頗深的影片與導演,中間則是創作理論、形式風格分析,理論方面筆者是以『作者論』為研究對象,在來就是拍片及過程的波折與轉變,後面則是本片的精華,所有影片技術部分的說明,包含動畫製作共分為八個階段,影像合成特效也分別說明原理與技術,很多技術都是筆者土法煉鋼自己不斷試驗所獲心得,也希望本篇論文能給一些想從事創作的朋友一些啟示與幫助。

A period of memory when I was a child lived in eastern Taiwan. Broad fields stretch out, there is nothing but the deep green mountain sits under the blue sky. When I was six, my bones and muscles couldn’t limit my legs. I just run forward unceasingly with unlimited energy. I just felt like to figure out why sierras sit on the horizon. I run and run and run… Sun was on my head and my moving shadow falls on the ground.

After 30 years, camera seems to replace my legs. My energy is still unlimited, what I record is the rhythmical life between the light and the shadow. My second production “The Lake of Sorrow” in the research institute may be a life’s concentration between the light and the shadow. There were many accidents during the producing, but they can’t change the subject I focus. What I want to express may be the consciousness of the city. It’s an attitude unclear and hard to explain. Maybe in some degree, it assimilates into concrete buildings on the surface. The length of the film “The Lake of Sorrow” is more than 30 minutes, it photographed by a 3CCD high quality DV. The form of this film, I dared to combine the practical photography and digital animation. Whole film was made by the director alone. The spirit and time I spent on this film is many times more than normal student’s productions. I almost used two times the spirit and time to finish a creation. The roles in the film, Rodeo, Fish, Mother and Mao-Mao made some relationship like friendship, love and the love between mother and son. Some values seem to disappear but some seem to ferment. The tone of the film is a little slow but it’s not a pessimistic ending.

This creation paper contains the background of “The Lake of Sorrow”. The first part, it presents the writer’s experience about seeing movies. From the junior high school to the research institute, the writer described several films and directors affect the writer. After that is about the theory of creation and the analysis of style. About the theory, the writer researched the “Author Theory”. Then, the writer talks about the experience, accident and the change during the producing. The last part is the essence, the explanation of the film technology, there are 8 stages including the animation. About the image synthesis effect, the writer also explains the principle and the technology. Many skills and technologies used in the film are the writer’s experience with the indigenous methods. I also hope this paper could enlighten and help some creator.

◎ Jacques Aumont &; Michel Marie 著. 吳珮慈 譯:當代電影分析方法論
◎ David Bordwell &; Kristin Thompson 著. 廖金鳳 譯:電影百年發展史
◎ Jeff Rush &; Ken Dancyger著 易智言等 譯:電影編劇新論
◎ Robert Stam著 陳儒修、郭幼龍 譯:電影理論解讀
◎ Michael Westlake &; Robert Lapsley著 李天擇、謝慰雯 譯:電影與當代批評理論
◎ 劉立行 著:電影理論與批評
◎ 邱華棟、楊少波 著:改變電影史的一百位名人
◎ 譚家雄、徐昌明 譯:羅伯•布烈松 電影書寫札記
◎ 黃建業 等著 區桂芝 主編:2007台北金馬影展叢書3 楊德昌
◎ 王雲霖 國立台灣藝術大學碩士論文 作品【C的悲劇】創作理念與說明
◎ 王瑞茗 國立台灣藝術大學碩士論文 作品【雙生】創作理念與說明
◎ 王以斌 著:MAYA 8.X 材質與演算精粹
◎ 陳明、許翔 主編 史天赫、劉暢、郭鵬鵬、朱誠斌 編著:MAYA著色演算

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