探討魔法公主中祟神的視覺表現研究

一部動畫題材的廣闊度不但讓讀者擁有無限想像空間，也可以將文化、思想、習俗透過這樣的媒介傳播出去。一部動畫的題材除了成就現實中不能完成的夢想以外，也可以輕易的使讀者接觸到異國的文化。本研究透過動畫大師宮崎駿的作品「魔法公主」，探討日本文化中特有的「恐懼心理」，闡述動畫中「報應」這個元素如何由「祟(Tatari)」到「祟神(TatariGami)」的形成過程，及其視覺手法的呈現。在本研究中發現，作品中的視覺手法可以透過歷時性的分析，把這種可見與不可見的報應形式，以畫面構成五個階段:1.怨念形成2.登場3.勢力擴張4.怨念消除5.退場。經由此五個階段自然畫面的呈現，流暢的將日本文化、思想傳遞給觀賞者，尤其勢力擴張的部分，發揮了高度的想像力，將「怨念(OnnNenn)」、「詛咒之心(Noroi NoKokoro)」用有形的方式表現出來。

關鍵字

魔法公主；祟神；祟；符號學

並列摘要

The breadth of a thematic Anime leaves readers not only with infinite imagineable space but through this medium also broadcates to the world its own culture, thoughts and mode. An Anime with theme achieves the impossible dreams in reality and naturally leads the readers as well, to touch with the exotic culture. This study tends to explore, through a masterpiece of Anime Master Hayao Miyazaki (宮崎駿) ＂Princess Mononoke＂(もののけ姫), the specific ＂terrified mindset＂ in Japanese culture and presents in the visual ways how the elements of ＂divine retribution＂ goes from ＂curse＂ to ＂God of curse＂. This visual approach, by diachronic analyses,constructs the ＂visible＂ and ＂invisible＂ divine retribution forms into 5 scenes: 1.grudge's becoming 2.the entrance 3.power extension 4.grudge's disappearance 5.the exit. By the natural serial representation of these 5 stages, Master Hayao Miyazaki fluently incorporates Japanese culture and thoughts into the viewers. Particularly in the ＂power extension＂, he spreads his wild imagination in showing ＂grudge＂ and the determined ＂curse＂ with visual forms.