實驗影片《溺斃》之創作論述-劇情式影片開放性敘事結構之研究

自1895年電影誕生以來，至今已百餘年了，電影逐漸發展成爲大衆普遍接受的一門藝術形式。隨科技與媒體的演進，電影甚至已經走出了銀幕和影院的限制，進入普羅大衆“人手一機”的屏幕當中，觀影經驗變得既便利又個人化；相對的，觀衆對電影劇情與內容的要求也變得多元且刁鑽，傳統的影片敘事手法與千篇一律的劇情安排已經逐漸無法滿足觀衆對影片的需求與期待，觀衆希望能夠在片中領受到更加複雜、微妙的觀影體驗。本文嘗試以實驗影片《溺斃》之創作過程爲例，以“溺愛”爲主題，籍此探討影片開放性敘事結構及觀衆在觀影過程中參與影片創作之可能性，進而提供觀者不同的視覺維度與觀影體驗。

關鍵字

敘事性；實驗影片；開放性敘事；溺愛

並列摘要

It has been more than a hundred years since the birth of film in 1895, and film has gradually developed into an art form accepted by the public generally. With the evolution of technology in media, movie have even gone beyond the realm of screen from cinema, and shown on the smart phone of everyone’s hand. The viewing film becomes not only handy but also customizable, which leads to the film getting diverse and the audience hard to be charmed. The traditional narrative techniques and the plot manipulation have not been able to meet the needs of the audience. They might require a more subtle and thoughtful story telling techniques. This article attempts to take the creative process of the experimental film "Drowning" as an example to research the subject of "doting" and explores the open narrative structure as a method to stimulate audience to involve in self-interpretation. Eventually, I wish this film could provide a path for viewers who are willing to access the light out of Plato’s cave.