電影作品《第四者》創作論述

每個男孩心中都有一個沈佳宜，每個女孩心中都住了一個李大仁，初戀總讓人回味無窮。《第四者》是一部成長電影，分成兩個部分，一是女孩轉大人的部分，從一個簡單的大學生愛情踏入成人世界複雜的男女遊戲攻防。人就是這麼矛盾，單純的人總想學世故，世故了又渴望單純。嫌生活太簡單的嚮往複雜，而生活複雜的懷念簡單。二是徵信社的部份，人必須是到了沒路走，才會用上這樣決絕的作法來呼救以及取得關注。對女主角沛薰這樣初出社會叢林的小白兔來說，為了一筆快錢她加入徵信社擔任「小四」，要誘惑男主角李曜愛上她，好放棄原本偷情的對象（俞倩），回到大老婆的身邊。沛薰得放棄原本的天真，做一場感情遊戲，真實與虛假之間，逐漸喪失了界線。然而，愛情來的意外，總在無預警處發生。沛薰告訴自己，親密不過是個謊言；真相不過是場遊戲，沛薰只是單純的要贏得薪水；不料情感意外失控，分不清是真心還是假戲。每個人或多或少都有過這樣的愛情經歷，而幻滅是成長的開始。不同於一般電影創作方式，《第四者》一開始就決定了片尾的苦果，在娓娓道來中，帶領觀眾去體驗現實生活所不能擁有，卻是渴望的經歷。《第四者》更是一部女性自覺的前衛議題，在成長的包裝下，為現代女性的愛情觀，找到新的詮釋角度，引發共鳴。做為面向市場，以類型電影開發的角度創作，參考國內外的相關電影的操作，本論述除了詳述實際的市場分析、劇本開發、拍攝製作、行銷宣傳工作外，也以文本研究為輔，來檢視影片的風格、形式與當代市場的影響；並以成長、懸疑、愛情電影相關研究資料，分析混合類型操作方式，寄望能提供一個商業與藝術兼具的影片創作參考。關鍵詞：劇情、懸疑、愛情、小妞電影、徵信社、情感出軌(小三、小四)、女性自覺、成長。

關鍵字

劇情、懸疑、愛情、小妞電影、徵信社、情感出軌(小三、小四)、女性自覺、成長。

並列摘要

A Critique Essay on the Film Work Significant others Advisor: Wang Toon Student: han-hsien,Tseng ABSTRACT Everyone’s first love seems to dwell in one’s heart forever as the first romance is always something worth reminiscing over and over again. Divided into two parts, Significant others is a film about growing up. The first part focuses on a girl reaching adulthood; upon leaving an innocent campus romance, she enters a complicated and calculating game between men and women. Human beings are self-contradictory by nature. Those who are socially inexperienced long to become streetwise, but once they have become streetwise, they desire to regain their innocence. People tend to get bored of their quiet lives, longing for something more sophisticated, but once their lives have become too complicated to handle, they miss the simple old days. The second part of the film is about a private detective agency. Desperate times call for desperate measures. It is the last resort for people who ask for help and seek attention. Pei-Hsun, the heroine, is a naive girl who just graduated from university. Enticed by the easy money she is offered, she works for the detective agency to seduce Li Yao, a plan to make him leave his mistress (Yu Chian) and eventually go back to his wife. Pei-Hsun has to shed her innocence to play in a game of love and desire. Gradually, the boundary between truth and lies is getting more and more blurred. Moreover, love always grows at the most unexpected times. Pei-Hsun tells herself that the intimacy is no more than a lie, and the truth is no more than a game; more importantly, it is only money that she is after. But gradually she loses control of her feelings and becomes unable to tell truth from lies. Everyone must have more or less experienced what is described above in one’s love life. The first stage of growing up is disillusionment. What differs Significant others from the conventional film productions is that the film is destined to have a sad ending. Through the narrative, it leads the audiences to experience what they cannot have but desire in their real lives. Moreover, Significant others raises the issue of women’s self-awareness. Dressed as a coming-of-age movie, it has found a new interpretation of how love is perceived in the eyes of modern women. Moreover, it resonates with its viewers. Facing the market, it is developed as a genre movie, based on the studies of marketing strategies adopted in Taiwan and abroad. In addition to the market analysis, scrip development, production, marketing and promotion, this dissertation examines the film style, genre and the market influence. Built upon the research into genres including youth, thriller and romance, it analyzes the marketing strategies of a cross-genre film. It is hoped that it will provide advice on how to strike a balance between commercial and artistic merits in film production. Key words: drama, thriller, romance, chick flick, private detective, infidelity, women’s self-awareness, growing-up