日本近代動畫電影音樂研究──
以《夏日大作戰》為例

自手塚治虫起始，日本近代動畫進入了嶄新的一頁。此時日本動畫因著資金、人力、民族性、歷史脈絡等諸多的因素，不再蕭規曹隨地追隨美國技法，而在影像上開創了自己的理路。可以想見的，當影像的呈現方式開始與美國分流時，音樂的思維也必然受到影響，而異於美國的動畫電影配樂。中生代新秀導演細田守以《夏日大作戰》的原創劇情大放異彩，該作以網際納路的災難為基礎，闡述了傳統與現代、科技與人性對現代人而言該如何尋找到中點的省思。藉由對《夏日大作戰》曲式與影音互動分析結果的交叉比對，我們可以發現：即使不採用高度影音密合的同步聲效性音樂，自成古典曲式的配樂依然能夠在劇情轉折點前後，以不超過兩個鏡頭的標準差達到比肩偕行的密合感。並且，這樣的同步性質跳逃了「米老鼠步」的思維，音樂成為更集中、更具有主體性的載體，不是影像的輔具，而成為了影像的闡述者，也使得影音的互動空間更有彈性。本論文分為兩部，第一部主理歷史脈絡（context），第二部主理音樂文本（text）；第一部下又分為兩章，分別是以宮崎駿做為分水嶺之宮崎駿及其之前的手塚時代、及宮崎駿之後的後宮崎駿時代，重點在梳理自手塚以降自後宮崎駿時代止的近代日本動畫電影音樂是如何流變；第二部則先以傳統的古典曲式分析《夏日大作戰》之音樂本身，再以Michel Chion之Audio-vision contract框架從事《夏日大作戰》中四個代表性劇段的分析。

關鍵字

細田守；夏日大作戰；古典曲式；日本動畫電影音樂；影音互動； Michel Chion ； audio-vision

並列摘要

From the time of Tezuka Osamu, modern Japanese animated cartoon entered a new era. With the influence of fund, manpower, national background, and history…etc., Japanese cartoon no longer fully follow what the American do. Later on, the Japanese create their own way to deal with image displaying. Obviously, the way of image displaying changes, the way of dealing with music will change too. Now the incidental music of Japanese animated cartoon is different from the American’s. A Japanese-styled original movie “Summer Wars” exposed a new excellent movie director Mamoru Hosoda and made him famous. The story context is based on disasters brought from internet-a virtual world. The story describes the contradiction of tradition and modern, and of technology and humanity. That contradiction reveals the problems people in real world are going to facing and need to deal with. By the comparison and contrast of music and images, we could see even if there’s no close-paired images and sound, the traditional classic-formalized incidental music still deal well with the turning points. It’s in tune and closely sealed without more than two shots. Moreover, the synchronization helps the producer to get rid of mindset of “the Step of Mickey Mouse”. Then, the music turns to be more focus and to be a themed carrier, not just being assistive. It becomes the address of image and makes the interaction more flexible. This thesis contains two main parts. The first part deals with context. The second deals with text. The first part is divided into two chapters. One is talking about the time before Hayao Miyazaki which is the era of Tezuka Osamu, the other is talking about the era of post-Hayao Miyazaki. Apparently, the pivot is at the time of Hayao Miyazaki. The point is to analyze how the incidental music of Japanese animated cartoon changes between the time of Tezuka Osamu and Hayao Miyazaki. The second part is to analyze the tradition-styled music in the movie “Summer Wars” and to analyze four representative episodes with Michel Chion of Audio-vision contract.

並列關鍵字

Hosoda Mamoru ； Summer Wars ； Musical form ； Japan animation film music ； synchronization ； Michel Chion

參考文獻

蔡慶同，《「創意」如何成為「商品」：論台灣動畫及遊戲產業的文化、工業與創新》。國立臺灣大學社會學研究所碩士論文，2005。

Gilles Deleuze著，黃建宏譯，《電影I：運動─影像》。臺北市：遠流，2003。

Jagdish Bhagwati著，周和君譯，《全球化浪潮》。臺北市：五南，2007。

Chion, Michel. Audio-vision: sound on screen. New York : Columbia University Press, 1994.

Harper, Graeme, and Ruth Doughty and Jochen Eisentraut. Sound and music in film and visual media : an overview. New York : Continuum, 2009.

國際替代計量

日本近代動畫電影音樂研究── 以《夏日大作戰》為例

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