臺灣博碩士論文加值系統

在後現代文化中，視頻遊戲、互動影音、電影、網劇，逐漸呈現出一種資料庫的文化形式，這改變了延續上千年的敘事傳統。資料庫是資料的結構化集合，敘事是一種認知建構，在數位媒體時代，它們並不矛盾，而是一種共生關係。結合Manovich提出的資料庫邏輯；以及與裝置、文化、身體相關的介面理論；還有認知敘事學中的敘事化過程，能夠建立一種資料庫敘事的理論模型。
資料庫敘事是一種空間敘事，是基於故事世界的多序列、多形式的講述。它通過螢幕介面、文化介面、身體介面的空間化設計，為觀眾的敘事化過程提供一種個人化的仲介。而敘事化過程需要完成從資料庫中建立序列，以及將特定序列構建為故事世界的雙重任務。所謂的空間敘事並非取代時間緯度的敘事過程，而是將空間緯度的敘述行為放置到與時間緯度同等重要的位置上，空間維度與時間維度的敘事性要如何進行協調，則是由資料庫中資料的粒度決定。
資料庫敘事理論雖然強調空間緯度的介面設計，但它卻不僅僅是指那些具有交互功能的敘事類型。它是一種中層理論，核心是敘事中展現出的資料庫邏輯，所以前衛電影的敘事、當代電影的複雜敘事、網劇敘事，甚至包括自動生成的「軟電影」都可以被稱作資料庫敘事。而超出單個文本範圍，但同樣基於一個故事世界（資料庫）進行多序列講述的跨媒體敘事，則是資料庫敘事的延伸。
不同符號體系（影像、聲音、文字）的敘事理論並不能通用，我們研究的對象是「數位影音」。由於數位影音囊括的形式非常多樣，無法對其進行標準的定義，所以更恰當的方法是將數位影音作為一種「裝置」，包含著技術—文化—主體三元關係的特性。研究案例包括視頻遊戲《對馬戰鬼》、互動影音《黑鏡：潘達斯奈基》、網劇《旺達與幻視》、跨媒體敘事《瘦長鬼影》。以案例分析歸納出資料庫敘事的敘述美學：首先，吸引力美學，其受數位影音這一裝置的影響而形成的；其次，越界美學，是資料庫多序列、多形式的敘事方式產生的「序列協同作用」，以及擬像社會這一現實境遇所決定的；最後，介面效應，這是數位媒體時代，內容與媒材分開後，介面現身，藝術作品或文本所要處理的全新議題。

In postmodern culture, video games, interactive audiovisual, and movies have gradually shown a cultural form of database, which has changed the narrative tradition that has lasted for thousands of years. The database is a structured combination of data, and narrative is a cognitive construction. In the era of digital media, they are not contradictory, but a natural symbiotic relationship. Combining the database logic proposed by Manovich, the interface theory related to apparatus, culture, and body, as well as the narrativization process in cognitive narratology, a theoretical model of database narrative can be established.
Database narrative is a kind of spatial narrative, based on the multisequential and multiform narration of the storyworld. It provides a distributed agency for the audience's narrativization process through the spatial design of the screen interface, cultural interface, and body interface. The narrativization needs to complete the dual task of establishing a sequence from the database and projecting this specific sequence into a story world. The so-called spatial narrative is not to replace the narrative process of the time dimension, but to place the narrative behavior of the spatial dimension in the same important position as the time sequence. How to allocate and coordinate the narrativity of the spatial dimension and the time dimension is determined by the granularity of database.
Although the database narrative theory emphasizes the interface design of spatial dimension, it does not only refer to those narrative types with interactive functions. It is a middle-level theory, the core of which is the database logic shown in the narrative, so the narrative of avant-garde movies, the complex narrative of contemporary movies, and even the automatically generated "soft cinema" can be called database narratives. And beyond the scope of a single text, but also based on a storyworld (database) for multisequential narration, it can be regarded as an extension of the database narrative.
The narrative theories of different symbol forms (images, sounds, texts) are not universal. The object of our research is "audiovisual media." As the forms of audiovisual media are very diverse and cannot be defined in a standard way, a more appropriate method is to use audiovisual media as the dispositif that contains the characteristics of the ternary relationship between technology, culture and subject. The case study include the video game Ghost of Tsushima, the interactive storytelling Black Mirror: Bandersnatch, the Web series Wanda Vision and the transmedia storytelling slender man. Through the case study, the narration aesthetics of the database narrative could finally be concluded: first, the aesthetics of attractions is formed by the influence of audiovisual media dispositif; second, the metalepsis aesthetics is the “sequential synergy” that is produced by multisequential and multiform narration method in database narrative, and that is determined by the post-modern cultural environment; Finally, since the content and the medium are exposed to be separate parts, resulting in the appearance of an apparent agent of interface, which an artwork or text must be dealing with, the interface effect.

第一章 緒論：賽博空間中的歧路花園 1
一、資料庫敘事作為一種中層理論 1
（一）數位敘事：鉅視觀點 2
（二）超文本敘事：微視觀點 3
（三）資料庫敘事：一種中層理論 5
二、裝置理論視閾下的數位影音 6
（一）電影裝置理論的延伸 8
（二）數位影音的吸引力回歸 10
（三）數位影音作為一種裝置 11

第二章 理論探討：資料庫敘事作為一種空間敘事 15
一、資料庫、敘事、資料庫敘事 17
（一）天生敵人還是融合共生 17
（二）資料庫敘事的三種討論 20
（三）從空間蒙太奇到介面設計 28
二、數位影音的介面層級 31
（一）螢幕介面 34
（二）文化介面 39
（三）身體介面 44
三、敘事化：資料庫敘事的敘事性 48
（一）資料庫敘事的粒度與敘事性 51
（二）故事世界作為一座歧路花園 54
（三）敘事化的認知建構 61

第三章 研究方法 67
一、資料庫敘事的理論模型 67
二、研究對象的選擇與討論 72

第四章 視頻遊戲《對馬戰鬼》的資料庫敘事 78
一、資料庫敘事作為遊戲敘事 79
二、《對馬戰鬼》的介面設計 83
三、《對馬戰鬼》的敘事化過程 89

第五章 互動影音《黑鏡：潘達斯奈基》的資料庫敘事 92
一、資料庫敘事作為互動敘事 92
二、《黑鏡：潘達斯奈基》的介面設計 97
三、《黑鏡：潘達斯奈基》的敘事化過程 102

第六章 網劇《旺達與幻視》的資料庫敘事 105
一、資料庫敘事作為網劇敘事 105
二、資料庫模型作為故事世界的隱喻 107
三、資料庫介面生成的多元論述 109

第七章 資料庫敘事的延伸《瘦長鬼影》的跨媒體敘事 112
一、資料庫敘事作為跨媒體敘事 112
二、《瘦長鬼影》的資料庫敘事 117

第八章 資料庫敘事的敘述美學 122
一、資料庫敘事的吸引力美學 124
二、資料庫敘事的越界美學 129
三、資料庫敘事的介面效應 136

第九章 資料庫敘事理論模型的再思考 141
一、資料庫敘事敘事理論的普適性 141
二、資料庫敘事的局限性與後續研究 145
三、結語：資料庫敘事作為一種體裁 150

參考文獻 153
附錄一：數位影音資料庫敘事的案例縱覽 163

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