臺灣博碩士論文加值系統

處於高壓的現代社會裡，相信我們總會在不期然間與憂鬱擦出火花，淡淡溢出的悲傷、苦悶，足以讓我們陷入一段不快樂的情緒之中。長期的挫折使人憂鬱，而經常性的憂鬱又可能令人意志消沈或感到無價值感。淺者，可能內心孤寂，以致無法與人分享心情，而深者，往往無法自拔而導致憂鬱症。要如何在未陷入疾病之前洗卻憂傷，這是需要個體不斷的調整體質及與環境的協調，才能產生全新的力量，重回生命熱忱的原點。
本創作以初級預防的概念為出發點，目的為協助職場工作者能有效的因應壓力源，同時也強調改變環境及社會支持的重要性。主角俊傑，是一位工作企圖心強的優秀青年，長期的自我督促，獲得上司的肯定及工作成就感，但過度投注於工作或是原本就有社交因應技巧不足的困擾，他忽略了該與同事間維持良性的互動，逐漸成形的社交孤立，他與同事間疏離的結果，終究影響工作與生活。故事刻意誇大了主管的厚愛，給予俊傑一個月的假，讓俊傑有機會暫時離開高壓的環境到鄉下，藉由一個超乎現實情境的安排，強化一個處於挫折、憂鬱之人，轉化情境的必要性，俊傑在鄉下，有了抽離無法自拔的壓力處境的機會，讓他獲得新的社會支持力量，鄉下裡的各個角色的安排，都是他重新檢視自己的力量來源，事業失敗的阿全、情感受挫的小玲、生活變故的仇仇等，都是一道道促發內省的覺察力量，再透過深信真理又善良的純樸阿美姐，與宛如心理師般，洞悉俊傑內心的房東張老師的轉化，俊傑開始從失志中逐漸站起來，並昇華成利他的助人力量，主動提出要幫阿全哥拍他日夜思念的老婆與小孩的照片，以及俊傑昇華後的心境相同般的太陽花，他把花分享給公司的同事們，甚至面對曾經欺負他或在他背後的耳語，都能放下心結，大方分享自己的壑然心境，重新面對相同的職場。筆者用意在提醒閱聽眾，壓力不會改變時，改變自己心境的重要性，也強調在深陷挫折時，暫時轉換情境，有助於強化體質，提高生命的層次。
廿五分鐘的故事裡，談著兩著概念－「挫折」與「灌能」。當憂鬱症成為菁英時尚病後，耗損了社會貢獻質量，也增加醫療及社會成本。挫折與憂鬱是人類自古以來普遍存在的情緒，但灌能卻如一帖回春良藥，得使人重啟純真生命的活力，並提升生活處遇的能力。「綠野心蹤」的影片，期望能站在公共衛生的三級預防概念之首，成為初級預防的影像創作素材，讓受眾及早認識負面情緒的問題，並尋找自我的壓力因應方法，在各自的職場上都能擁有好心情及適任的好表現，成為社會結構裡真正的中流砥柱。

In this high-pressured society, people nowadays often get bogged down into the feeling of melancholy. Sadness and boredom arouse the unhappy mood. Long-term frustration makes people blue, while regular depression makes us feel low-spirited and worthless. In that circumstance, people may feel too lonely to share feelings with others and furthermore become the victim of depression. How to wash away sorrows before it grows worst seems to be a major task to modern people. However, people need to adjust themselves to get along well with the environment. And this process would help people gain new power and re-find their enthusiasm of life.

This film starts from the concept of primary prevention of public health. It is not only aimed to help workers to adjust themselves to the pressure, but also emphasized the importance of changing the environment and social support. The leading actor, Jyun-Jie, is an ambitious and self-disciplined young man. He feels accomplished and obtains his superior’s affirmation by working hard. However, overworking or poor social skills make him neglect the interaction with colleagues, and become social alliance. Due to the isolation, he cannot concentrate on his work and suffers from depression.
In the story, I exaggerate the kindness of the manager and give Jyun-Jie a one-month career break to have a chance to leave the tense working environment to the countryside. I arrange a beyond reality plot to emphasize the necessity of changing environment when people feel down and frustrated. In the countryside, Jyun-Jie has an opportunity to leave the stress and rebuild his new social support. I arrange several characters such as A-Cyuan who is failed in business, Siao-Ling who is failed in love and Ciou-Ciou who leads a hard-going life, to help him review himself and regain his power.
Furthermore, through the help of two characters, the simple-minded A-Mei, and the renter, Mr. Chang, who can read minds, Jyun-Jie pulls himself together and finds his own altruistic power. In the end of the story, Jyun-Jie spontaneously proposes taking pictures of A-Cyuan’s wife and child to comfort his homesick, and sends flowers to his colleagues even those who slander him. It all shows that Jyun-Jie can let go the feud and face the same problem at the office with a healthier attitude.
I try to remind the audience that when the pressure would not disappear, it is important to adjust yourself. I also emphasize that when people get bogged down in the frustration, to change environment temporally would help strengthen the mind and upgrade the level of life.

This 25 minutes film contains two main concepts: frustration and empowerment. In our society, depression becomes a modern mental illness. It not only decreases one’s contribution to the society, but also increases the medical and social costs. Frustration and depression have been on the mood since ancient times. However, empowerment plays the role as a cure-all and helps people re-gain vitality and enhance the ability to solve daily-life problems. This film, State of Mind, is expected to be as the video material of the primary prevention of public health, and make the audience acquainted with negative sentiments, and encourages them find their own way to adjust themselves to the pressure. By doing so, people can perform well with good mood, and become the true pillar rock in midstream in the society.

中文摘要.................................................Ⅰ
英文摘要.................................................Ⅳ
誌謝.................................................... Ⅳ
圖目錄.................................................. Ⅸ

第一章 緒論 ..............................................1
第一節 創作動機..........................................1
第二節 創作理念..........................................2

第二章 文獻探討...........................................4
第一節 寫實敘述風格 ......................................4
第二節 職場適應理論.......................................5
第三節 心理學理論-挫折(Frustration)、灌能(Empowerment).....6

第三章 創作說明............................................8
第一節 故事大綱...........................................8
第二節 人物角色定位........................................9
第三節 角色背景...........................................10
第四節 故事衝突所在........................................11
第五節 劇情結構大綱........................................13
第六節 說故事的元素........................................14
第四章 影片製作過程.........................................15
第一節 拍攝企畫...........................................15
第二節 前製歷程...........................................16
第三節 劇本..............................................34
第四節 拍片過程...........................................66
第五節 影片重要的符號......................................70
第六節 後製過程...........................................72

第五章 公開播映及分析.......................................74
第一節 公開播映規畫........................................74
第二節 第一場展演規畫......................................74
第三節 展演及座談會的問卷分析結果摘要........................85
第四節 影片創作價值與期許...................................88

第六章 結論與建議...........................................90

參考文獻....................................................92

附件一 【分鏡表】...........................................93
附件二 【片尾字幕及感謝名單】...............................131
附件三 【展演暨座談會新聞稿】...............................133
附件四 【拍攝經費】........................................134
附件五 【座談會紀錄】......................................137
附件六 【影展問卷】........................................164
附件七 【問卷結果分析】.....................................167

圖目錄
圖3-1 主角挫折來源........................................11
圖3-2 主角灌能來源........................................12
圖3-3 主角心理衝突來源....................................12
圖3-4 故事衝突類型.......................................13
圖3-5 劇情結構大綱.......................................13
圖3-6 劇情發展之主角內心轉輒..............................14
圖4-1 工作團隊成員.......................................17
圖4-2 台北場景-1.........................................20
圖4-3 台北場景-2.........................................21
圖4-4 台北場景-3.........................................21
圖4-5 台北場景-4.........................................22
圖4-6 台北場景-5.........................................22
圖4-7 台北場景-6.........................................23
圖4-8 台北場景-7.........................................23
圖4-9 后里場景-1.........................................24
圖4-10 后里場景-2.........................................24
圖4-11 后里場景-3.........................................25
圖4-12 后里場景-4.........................................25
圖4-13 后里場景-5.........................................26
圖4-14 后里場景-6.........................................26
圖4-15 后里場景-7.........................................27
圖4-16 后里場景-8.........................................27
圖4-17 后里場景-9.........................................28
圖4-18 后里場景-10........................................28
圖4-19 劇組會議...........................................29
圖4-20 主要角色照片........................................33
圖4-21 劇組工作人員照片....................................67
圖4-22 劇組拍攝照片.......................................68
圖4-23 開鏡照片...........................................69
圖4-24 光碟標籤...........................................72
圖4-25 光碟盒封面.........................................73
圖5-1 邀請卡.............................................75
圖5-2 部落格展演訊息......................................76
圖5-3 網站展演訊息........................................76
圖5-4 展演海報............................................77
圖5-5 展演當天媒體採訪實況-1...............................77
圖5-6 展演當天媒體採訪實況-2...............................78
圖5-7 展演當天來賓入場實況-1...............................78
圖5-8 展演當天來賓入場實況-2...............................79
圖5-9 展演當天開演實況....................................79
圖5-10 展演當天座談實況-1..................................80
圖5-11 展演當天座談實況-2..................................81
圖5-12 展演當天花絮照片....................................81
圖5-13 影片精典對白書籤....................................84
圖5-14 影片中印象最深情節分析表.............................85
圖5-15 展演發表中印象最深刻的部份分析表......................86

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