臺灣博碩士論文加值系統

Liberty Avenue 是國立台灣藝術大學應用媒體藝術研究所研究生林裕凱二零零五年於美國所拍攝的畢業製作作品。 此作品探討的主題是一位母親以及她輕度智障的女兒相依為命的故事。本片改編自真人真事，導演利用時間的交錯的方式並置了真實案件與回憶，巧妙地呈現了在美國中西部的生活。

此片全長三十五分鐘，全片由數位攝影機拍攝完成。工作人員包括了台灣、大陸、日本、美國，以及土耳其的藝術創作者。 全片從前製一直到後製作的整體創作時間歷時大約十一個月，花費金額約為兩千元美金，並且榮獲二零零五年美國堪薩斯州匹茲堡州立大學研究論壇榮譽賞。

本研究論文主要為創作過程的紀錄與檢討，並且陳述了創作者從前製一直到後製作中所有面臨的問題以及解決方式。 另外一方面在附錄的文件中也收錄了創作企劃書、拍攝劇本、導演筆記、進度表，以及分鏡圖。希望這樣的一個創作展演報告可以提供未來要在美國創作者一些建議，也希望可以將相關的經驗傳承下去。

Inspired by a true story that happened in 2004, Liberty Avenue –a thirty five minutes digital film production depicts the struggling life of a caring mother, Esther, and her mentally challenged daughter, Alicia. Esther and Alicia live in poverty. The only person with whom Esther keeps contact with is her sister Rose who lives on Liberty Avenue in Alabama. This story is about the emotional journey of Alicia, Esther, and the cat Mr. Boots, and ends with an unforgettable twist.

This research project gathered international talents in Pittsburg State University. Students from Taiwan, Japan, China, Turkey and America work voluntarily for this project. Through this international cooperation, the artists learned to appreciate the different work ethics and visual aesthetics.

The idea to make Liberty Avenue has been hidden in the mind of the director for almost a year. Last winter in New York, the director read a piece of news which covered a daughter driving with her dead mother for days. This piece of news shocked the director and made him want to know what had happened during that journey. So, he took this story as the motif of his graduate project and developed the script out of it. This thesis serves as the production documentation for this production process.

目錄
中文摘要…………………………………………………………………………1
英文摘要 (Abstract)…………………………………………………………2
誌謝……………………………………………………………………………… 3

第一章、 序論 (Introduction)………………………………………………………5
一、 創作動機與理論背景 (Making A Film)…………………………………5
二、 劇本的發展與設計 (Script Developing Process)……………………9
三、 角色設定與情節安排……………………………………………………13

第二章、 前製 (Pre-Production)……………………………………………………16
一、企劃書的撰寫 (Proposal Writing)……………………….………………16
二、創作分工 (Work Division)…………………………..……………………16
三、贊助與資源的尋求 (Sponsor and Resources)……………………………18
四、製作進度的擬定 (Production Scheduling)………………………………19
五、製作會議的召開 (Production Meeting)…………………………………19
六、創作設計與意象的討論 (Production Design/ Idea)………………………21
七、場景的搭設與角色造型的設計 (Transformations)………………………22
八、動物訓練 (Cat training)……………………………………………………24

第三章、製作與拍攝 (Production)…………………………………………………26
一、與氣候的挑戰 (Beyond the Schedule)…………………………………………26
二、與演員的溝通 (Crisis/ Chance)……………………………………………26

第四章、後製 (Post-Production)……………………………………………………28
一、剪輯 (Editing)……………………………………………………………28
二、音樂設計 (Music Composing)…………………………………………29

第五章、檢討與結論 (Self –Critique)………………………………………………31

參考書目……………………………………………………………………………33
附錄(創作劇本、進度表、順場表、導演筆記、企劃書...等創作資料)………100

李金銓(1984)。＜大眾傳播理論/社會．媒介．人＞，台北三民出版社。p.125。

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Luckasson,R.Coulter, D.L.Polloway, E.A Reiss,S. Schalock, R.Lsnell
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Stanislavski, C. S. (2002) Elizabeth Reynolds Hapgood (Tran),
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