臺灣博碩士論文加值系統

「母體大地，Motherland」是一部融合了動態影像美術（Motion Graphic）、曠時攝影（Time-lapse）、單格實體影像（Stop motion）、平面靜態影像（Still images）、數位影像合成（Digital Composting）、特效（Special effect）和電腦3D動畫（Computer 3D）的實驗型創作影片，它以人是屬於大自然一部分的觀念做為主軸，願觀者可以發現並了解原來我們與大自然的關係是如此的密不可分；而以高畫質影像的表現型式來呈現，這與早期大螢幕所使用的optical光學的技術有很大的不同之處，隨著高畫質數位影像時代的來臨，希望這部實驗影片能夠開啟獨立影像創作者在高畫質影像上有更進一部的發展與特色。
動態美術的歷史發展至今雖然只有短短的幾十年，但是它卻已經遍及至各種媒體影像，舉凡電影片頭，動畫，廣告，手機，電視媒體…等，都可以發現動態美術的蹤跡，並且深深的融入一般大眾的生活之中，而它與動畫之間的不同之處，又是如此的類似，因此動態美術已經逐漸成為現代媒體藝術的新熱門表現形式之一。

“Motherland” is an experiment film, which included elements of motion graphic, time-lapse, stop motion, still images, digital composting, special effect and computer 3D graphic. Basically, the concept of this film is to mention that human is part of nature by combining realistic landscape images with human body, especially female which is assumed as a representative of creator of life. The director of this file hopes viewer can discover the relationship between human being and nature is inseparable. Moreover the film is presented by High-Definition resolution, which has huge different comparing to optical system technique. The new age of high quality image is coming though. I hope this experimental film could be a part of the high-definition of the avant-garde.
The history of motion graphic only has been developed in the few decades and during the period showing on many different media, such as film title sequence, animation, advertisement, 3G mobile, TV and so on. Therefore the motion graphics appears not only in specific art scene but also in our daily life. Furthermore According to recent movement in the field, it seems computer techniques crossing the boundary between animation and motion graphic. Finally the art of motion graphic is already become one of the popular media form for the contemporary art.

目錄
摘要…………………………………………………………………………………Ⅰ
Abstract……………………………………………………………………………Ⅱ
誌謝詞………………………………………………………………………………Ⅲ
目錄…………………………………………………………………………………Ⅳ
第一章 前言 ………………………………………………………………………… 1
第二章 創作自述………………………………………………………………………3
第一節 個人創作歷程 ……………………………………………………………… 3
第二節 在學時期的創作 …………………………………………………………… 5
第三節 影響我創作的藝術家…………………………………………………………8
1. 奧斯卡 凡塞爾Oskar Fischinger…………………………………………… 8
2. 郎靜山………………………………………………………………………………10
3. 索爾 貝司Saul Bass……………………………………………………………13
4. 莫瑞司兵德Maurice Binder………………………………………………… 16
5. 凱利 庫特 Kyle Cooper……………………………………………………… 21
第三章 畢業製作「母體大地 / Motherland」書面報告…………………………23
第一節 創作動機 ……………………………………………………………………23
第二節 影片內容探討 ………………………………………………………………24
第三節 美術風格 ………………………………………………………………………38
第四節 配樂 ……………………………………………………………………………40
第五節 表現形式 ………………………………………………………………………40
第六節 製作方式與心得………………………………………………………………46
第四章 動畫和Motion graphic的關係……………………………………………48
第一節 動畫暨有的歷史　……………………………………………………………48
第二節 Motion graphic的起源與實驗性 …………………………………………51
第三節 研究心得…………………………………………………………………………51
第五章 結語………………………………………………………………………………58
參考書目…………………………………………………………………………………59
附錄
附錄一、畢業製作企劃案………………………………………………………………62
附錄二、公開展演紀錄…………………………………………………………………76

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