電影產業數位化之電影修復研究

A Study on Film Restoration by the Digitalization of Film Industry

楊宏達(Hong-Da Yang) ； 官政能(Cheng-Neng Kuan)

《實踐設計學報》 9期 (2015/11) Pp. 262-281

摘要

視聽遺產包括動態影像及錄音紀錄，承載了過往的經驗、訊息與知識，為重要的文化遺產。聯合國教科文組織（United Nations Educational, Scientific, and CulturalOrganization, UNESCO）自1980年起便不斷呼籲各國保存視聽遺產。近年來我國政府部門與典藏機構持續關注電影保存議題，財團法人國家電影中心與電影產業並著手進行老片修復。本研究旨在探討臺灣電影產業數位化對電影保存與修復的影響，並探索電影修復的工藝與美學，以及產業所依循的修復倫理圭臬。本研究透過13位電影修復專家與學者的深入訪談，以及參與觀察與文獻研究方式，蒐集電影產業數位化歷程與電影修復專案資料，以瞭解電影產業數位化與電影修復的相關性。本研究經資料分析與探討，歸納重要結論如下：1.電影產業全面數位化形成產業典範轉移，嚴重衝擊傳統沖印產業，但建構出新的電影創作美學與產業競爭環境。2.數位修復為延續視聽遺產生命的積極作法，也為再創作提供良機，但非視聽遺產典藏的終極手段。3.電影典藏仍應妥善保存原始膠片檔案。電影數位修復需要以專業倫理為基礎，來處理技術與美學的雙重展現。

關鍵字

財團法人國家電影中心 ； 修復倫理 ； 電影膠片 ； 數位修復 ； 動態影像

並列摘要

Audiovisual heritage, including moving image and recordings, carries lessons, information and knowledge, and is an essential cultural heritage. The United Nations Educational, Scientific, and Cultural Organization (UNESCO) has constantly encouraged countries to preserve audiovisual heritage since 1980. In recent years, government agencies and film archiving organizations have increased emphasis on the issue of film preservation. Concurrently, old film restorations were executed by the Taiwan Film Institute (formerly known as Chinese Taipei Film Archive) and film industry. The purpose of this study is to investigate the impacts of film preservation and restoration through the digitalization of the Taiwanese film industry. Furthermore, explore the techniques, aesthetics, and industry ethics for film restoration. This study involves an in-depth interview with 13 professionals and scholars in the restoration field. In addition, participant observation and literature review were used for data collection on the digitalization and restoration of the film industry to understand the interrelationship between them. The conclusion from the analysis and discussion of data is as follows: 1. Digitalization of the Taiwanese film industry leads to a paradigm shift toward a significant decline of film laboratory business and reconstruction of new filmmaking aesthetics and a competitive environment. 2. Digital restoration would be an active pathway to prolong the life expectancy of audiovisual heritage, and also to be an opportunity for film re-creation, but not the ultimate solution for film preservation. 3. Film restoration needs the professional ethics as the basis to deal with an ensemble of technology and aesthetic.

並列關鍵字

Taiwan film Institute ； Restoration Ethics ； Motion Picture Film ； Digital Restoration ； Moving Image