以符號學觀點分析動畫角色圖像的象徵性

An Analysis of Symbolism in Animation Character Graphics with a Semiotic Approach

陳伯拯(Bro-Jean Chen)

指導教授 ： 林品章

中原大學/設計學院/商業設計研究所/碩士(2005年)

https://doi.org/10.6840/cycu200500513

摘要

圖像藝術常以符號的形式傳遞作品的意念，符號的觀念更長期影響著解讀藝術作品象徵的方式。關於以符號學的觀點分析動畫角色圖像的象徵性，主要以影響動畫角色圖像發展的歷史、商業、文化等相關因素為前提，以釐清動畫角色圖像的外在表現和內在本質等共通問題。動畫角色圖像與象徵性的關聯，則以符號學中符號具與符號義的互動模式作為論述之架構，分別依據共時性、歷時性符號時態的差異性，探討動畫角色圖像的表現形式，並綜合符號語義上的深層結構關係，建立解讀動畫角色圖像象徵性之完整模式。研究以《獅子王》、《寶蓮燈》、《神隱少女》三部動畫電影為主要範例，以歸納在符號學觀點下，動畫角色圖像象徵性所呈現的特性、規則等現象，以及優缺點。其重點如下：

（一）共時性符號主要依符號的特徵，以隱喻或轉喻的方式解釋象徵。符號的任意性，使毫無關聯的視覺元素產生聯結，可豐富圖像的象徵意義，符號的慣例可追溯圖像風格的來源，並反映動畫角色實質的象徵意義。

（二）歷時性符號主要以時間為符號單位來含括圖像的演繹過程，通常著重於象徵性的拍攝手法以詮釋概念，包含角色的連續動作或圖像視覺動感的方向。

（三）深層結構下的符號，統合共時性與歷時性的圖像表現，著重於以訊息傳達的角度分析動畫角色圖像於敘事內容的運作方式，主要以符號選擇和組織的關係來決定符號的象徵意義。

（四）以符號學分析動畫角色圖像，其優點在於容易區分符號的屬性，使角色於複雜的敘事文本中，可依符號的語義關係予以明確的定位，並使角色圖像與抽象的象徵意義產生結合。其缺點在於符號學過於強調切割符號單位，解釋圖像意義則顯得零碎，另一方面，也容易忽略圖像本身造形上高度的藝術性和趣味性。

關鍵字

圖像 ； 動畫 ； 象徵性 ； 符號

並列摘要

In graphic art, ideas are often expressed through signs, and the concepts of semiotics have long influenced the interpretation of symbols in art. In analyzing symbolism in animation character graphics with a semiotic approach, this work attempts to explain the common issues of external representation and internal characteristic, based on historical, commercial and cultural factors that have influenced the development of animation character graphics. The connection between animation character graphics and symbolism will be discussed under the semiotic structure of interaction between the signifier and the signified, and the representation of animation character graphics illustrated in terms of tense differences in synchronic and diachronic signs. In combination with semantic deep structures, we can then build a complete model with which it will be possible to interpret symbolisms in animation character graphics. The study will tackle three animation films, “The Lion King,” “Lotus Lantern” and “Spirited Away” as examples to reach the following conclusions about the characteristics, rules of such symbolism, and the advantage or disadvantage of this analytical approach. (1) Synchronic signs interpret symbols through metaphor or metonymy according to sign attributes. The arbitrariness of signs enriches the symbolic significance of graphics by connecting irrelevant visual elements; whereas the convention of signs serves to trace the source of graphic styles and reflect the real symbolism of animation characters. (2) Diachronic signs use time as a unit to encompass the realization of graphics, usually preferring to interpret the underlying concepts through a symbolic approach to filming, such as the characters’ continuous actions or the direction of visual movements. (3) Signs in a deep structure integrate synchronic and diachronic graphic representations, emphasizing the operation of animation character graphics within the narrative as a means of communicating messages. The symbolic significance of signs is determined through the choice of signs and their organization. (4) The advantage of analyzing animation character graphics with a semiotic approach lies in the fact that, as the attributes of signs can be easily distinguished, it is possible to position clearly the characters within a complex narrative text through their semantic relations, and meaningfully combine the graphics with abstract symbolism. On the other hand, the disadvantage of this approach results from the over-cutting of sign units in semiotics, making the interpretation of graphic significance rather fragmented. Also, the approach often ignores the entertaining and highly artistic nature of the graphics themselves.

並列關鍵字

animation ； graphic ； symbolism ； sign.

參考文獻

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