皮傑樂的留聲機－－疏離的再連結

本論文以「疏離」為主軸探討筆者從2015年至2016年的作品，並集中討論筆者之畢業創作《Pjele’s Phonograph》。首章概述筆者之創作領域與創作觀。第二章剖析筆者之創作脈絡，談及作品《邊境公車》、《Silver Plate》、《Anton, under the Table》表現之各種疏離困境，並藉動畫《邊境公車》，以「圓形蛇」圖騰與華嚴哲學探討筆者如何透過作品連結疏離個體、幫助個體超越疏離困境。第三章闡述《Pjele’s Phonograph》從「疏離」出發，觸碰「惡」的主題，探討筆者如何透過雙線敘事結構組織「惡」的形成與對抗，以拼貼手法深化作品主題，並以納粹反猶太運動與榮格人格類型輔佐筆者對於「惡」的觀點。最後藉紀錄片《日曜日式散步者》與小說《發條鳥年代記》三部曲重新檢視作品。末章則回顧筆者自研究所前至今之作品形式，作為新創作階段之開始。

關鍵字

繪本；疏離；連結；惡

並列摘要

The thesis discusses the author’s works from 2015 to 2016 with the theme “isolation”, and the author’s graduate work “Pjele’s Phonograph”. The first chapter presents the author’s artist statement and reveal the theme “isolation”. In the second chapter, the author reviews different isolated situations in works such as “Border Bus”, “Silver Plate”, “Anton, under the Table”, and how she reconnects the isolated beings in the stories, by referring the concept of Ouroboros and Hua-yen Buddhism. In the third chapter, the author discusses how she extends the theme “isolation” to “vice” in “Pjele’s Phonograph”. The discussion also includes how she organizes the plots concerning the formation of and confrontation with vice by parallel narrative, how she attempts to deepen the content by using collage, and how she supports her viewpoint toward vice by referring Nazi’s anti-Jew movement and Jung's Model of Typology. In the end of the chapter, the author reexamines the work by referring the documentary “Le Moulin” and novel “The Wind-Up Bird Chronicle”. The fourth chapter reviews forms of the author’s past works, and claims a new statement of her future work.