- 學位論文
從造型分析日本動漫相關產品中女配角勝出女主角之原因
Analysis of the Reasons Why Supporting Actresses Are More Popular than Leading Actresses in Japanese ACGN Products from the Perspective of Modeling Style
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摘要
日本動漫相關產品即指動畫（animation）、漫畫（comic）、遊戲（game）、小說（novel）;簡稱ACGN。本研究從造型探討日系網路人氣投票「國際最萌大會」皇冠賽中女性配角人氣高於原作第一女主角之原因分析。「國際最萌大會」（International Saimoe League）是ACGN愛好者都能易於參與的世界型角色人氣投票比賽，在眾多賽事中，於皇冠賽中獲得冠軍的女性角色將被賦予「萌王」的殊榮，這稱號不僅會顯示在部分對角色的網頁介紹，也能有效提升角色對外宣傳的口碑及商業利益。本研究以2009～2018年間網路舉辦的「國際最萌大會」皇冠賽的女性角色做分析，共搜集35件女性角色樣本，通過以下二個步驟讓分類者進行分析，期望了解女配角比女主角更「萌」的原因。首先做出角色造型視覺元素分析，其二為角色造型氣質形容詞分析，以比較第一女主角及女配角在造型與氣質屬性的差異性。研究結果顯示：女配角在年齡、髮長、髮型、髮飾、臉型、眼睛形狀、眼睛顏色、眉毛形狀、服裝鬆緊度、裸露程度等不同於女主角；勝出的女配角造型比落敗的女主角傾向青春可愛卻又展露有節制性感的中學女生。在造型氣質部分，女配角群傾向「成熟」、「聰明」、「理性」、「神秘」、「溫柔」；而女主角群的氣質則傾向「強勢」與「活力」等激進或其他負面特質。以上結果可得知，所謂「萌」是外觀純真略露性感，但性格成熟聰明又溫柔的典型理想女性氣質。研究得出的其他結論為：（1）「萌」的價值可能在改變中。（2）萌屬性符合審美模型理論。（3）劇情會影響大眾對角色的喜好。（4）媒體影響受眾的價值觀與審美觀。（5）角色需具備戲劇需求，但氣質設定符合女性特質較受歡迎。（6）角色外型與氣質設定，需符合觀眾的潛在心理需求。（7）角色設計者需要了解受眾心理，做出創意又受歡迎的設計。期望以上結果能補充關於日系女性角色設計偏好文獻的不足，作為日系女性角色開發廠商與設計師開發角色造型與定位之參考依據。
並列摘要
Japanese ACGN products include animation, comic, game, and novel, which is also called ACGN in abbreviation. The study is focused on the supporting actresses’ styles in the Crown of International Saimoe League, which is a worldwide website voting activity to ACGN lovers to vote for the popularity of actresses in animation. Also, we analyzed the reasons why the winning supporting actresses had more popularity than the leading actresses. After numerous competitions, the winner got the honor called Moeoh in the Crown Competition. The title for the winner is not only displayed on the webpage of the actress, but also promotes the public praise and business profits effectively. The study analyzed the actresses in the Crown of International Saimoe League on the website between 2009 and 2018. Thirty-five objects were collected and processed by following two steps to realize why the supporting actresses got more public praise of Moe than the leading actresses did. First we analyzed the style of characters in visual way. Then, the adjectives used to describe the class of the supporting actresses were also analyzed to differentiate the class from the leading actresses. The result shows that the supporting actresses have different features from the leading actresses, such as ages, hair lengths and styles, hair accessories, face shapes, eye shapes and colors, eyebrow shapes, cloth styles etc. The winners are younger, cuter, rationally sexier high school girls. They have the features of mature, smart, rational, mysterious and gentle class, while the leading actresses are strong and active, which are aggressive characters, and sometimes even negative characters. With the above results, we conclude that Moe is an ideal female character with innocent and sexy looks. Mature, smart and gentle classes are also necessary characters for an ideal female. We also have the other conclusions from this study. First, the value of Moe is probably changing. Second, Moe character fits the ideology of the aesthetic. Third, the plot of the animation also affects the public preferences. Fourth, medias play an important role of the public value and the ideology of the aesthetic. Fifth, the actresses are not only designed for the plots, but also needs to be female stereotype to get more popularity from public. Sixth, the actresses need to fit the audience’s potential and mental preferences. Finally, the actress designers need to understand the audience to create interesting and popular characters. We hope this study could provide more information about designing Japanese female characters for the designers and animation companies.
參考文獻
Allison, A. (2006). Millennial monsters: Japanese toys and the global imagination. Berkeley: University of California Press.
Arima, A. N. (2003). Gender stereotypes in Japanese television advertisements. Sex Roles, 49, 81-90.
Ballon, R. (2009). Breathing life into your characters. Cincinnati: Writer’s Digest.
Bandura, A. (1971). Social learning theory. New York: General Learning Press.
Berlyne, D. E. (1976). Effects of novelty and oddity on visual selective attention. British Journal of Psychology, 67(2), 175-180.
延伸閱讀
- 鍾旻家（2006）。迪士尼與宮崎駿動畫作品特質與女性角色詮釋之比較。視覺藝術論壇，(1)，16-34。https://www.airitilibrary.com/Article/Detail?DocID=P20101214002-200607-201012140043-201012140043-16-34
- 吳孟翰（2015）。論〈孤戀花〉改編電影中的電影女性形象轉換。文化研究雙月報，(148)，1-20。https://www.airitilibrary.com/Article/Detail?DocID=20762755-201501-201503310014-201503310014-1-20
- 王耀瑄（2006）。當女性遇上宮崎駿－宮崎駿動畫中的女性形象。兒童文學學刊，(15)，115-130。https://doi.org/10.6739/ttchl.200605_(15).0005
- 李明璁（2015）。The Visuality, Embodiment and Gender Performance of Korean Pop: A Study on the Production, Consumption and Appropriation of the MVs of ＂Girls' Generation＂。新聞學研究，(122)，37-78。https://doi.org/10.30386/MCR.201501_(122).0002
- 張嘉妤（2013）。A study of the mechanism of advertising codes for gender ideology and fashion aesthetics, taking three ads “Big ladies”, “Little Red Riding Hood” and “The Bookstore” from Sunrise Department Store as example〔碩士論文，國立臺中科技大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0061-0608201320243300