分鏡腳本之文圖轉碼意象認知研究

An Image Cognitive Study of Decoding the Texts and Images on Storyboard

陳奕帆(Yi-Fan Chen)

指導教授 ： 蔣世寶

嶺東科技大學/設計學院/數位媒體設計研究所/碩士(2013年)

https://doi.org/10.6823/LTU.2013.00076

摘要

中國文字是由圖畫形象逐漸轉變成一種約定成俗的符號，其文字筆畫的背後相對隱藏了豐富之意象，也經由學習來了解文字本身的含意；因此，現今社會中，文字成為最直接、最精確的視覺傳達媒介。文字訊息的傳達使讀者不斷組合統整接收到的文字意象，藉由對文字意象的認知上，衍生出影像傳達的作用，然而，文字既成為符號的具體圖像表現，也帶有許多圖像的特性；而圖像的特性是利用色彩、形態(如點線面)、材質，組成所表徵的事物，如用圓圈來表示車的輪子，就是一種類比的關係，也因為圖像與所表徵物的特徵相似，因此，圖像在個體的認知上容易受各項因素影響而產生不同解讀；故，在認知歷程上大抵會產生若干程度的分歧，其中，主要受到個體在學習與經驗的影響。在學習的場域，學生的認知表現則從不同階段的教育訓練歷程中提取經驗，進而反應在處理圖像訊息的敏銳度與品質上。動畫領域則是透過動態媒體設計相關課程的訓練，藉由影音的拍攝、錄製進行文本內容的表現，所以，視覺化的歷程即成為創作的首要重點。
本研究以宮崎駿動畫影片作品與腳本，做為主要的研究標的與對象，試圖從研究方法的設計，以「研究者」、「學習者」、「創作者」三面向，進行不同觀點之切入探討；「研究者」面向分析動畫作品構成元素，了解元素之間的關係與脈絡差異；「學習者」面向則透過量化取向，以二因子變異數分析等方法，試圖了解學生學習階段對圖像的認知與態度反應；「創作者」面向則利用《霍爾的移動城堡》之文字腳本，做為研究工具的設定與操弄，並採用口語分析、事後回溯等方法，以探討創作者在文圖轉碼設計之思考歷程。
從各面向分析之結果顯示：(一)角色定位為造型設計主要考量因素；(二)「室外郊區」場景在宮崎駿的動畫影片當中，是最常被運用的空間類型；(三)「道具」項目在宮崎駿的動畫影片中，主要的作用則是推動劇中的情節；(四)學習者對於不同情境構面的圖像認知反應具有明顯差異；(五)「學習者」變項設定中，高、低年級學生在文字的理解後，對於圖像認知反應是沒有明顯差異；(六)腳本的文本工具中，斷句的詞彙屬性相對成為分鏡繪製的思考重點；(七) 創作者之圖像設計思考，取決於個人經驗對文字理解與想像；(八)三項情境構面的文字腳本，經創作者測驗後，其得到的設計思考模式是有差異的。最後，本研究建議在創作者研究階段在研究對象的篩選上，可著重於有文學與設計皆有優異成績的受測者，對文字意象能有更深層的理解，並且在分鏡設計時能充分表現文字賦予的想像，更了解文圖轉碼過程之細節。

關鍵字

圖像認知 ； 文圖轉碼 ； 口語分析

並列摘要

Chinese characters refer to the conversion of graphic images into conventional symbols, where rich images are hidden in the strokes and the meaning of characters could be understood through learning. In modern societies, characters are considered as the most direct and accurate visual communication media. The communication with text messages allows readers constantly combining and integrating the received character image and deriving the image communication from the cognition of character image. Nevertheless, being the specific image presentation of symbols, characters also present numerous image characteristics, which are composed of color, form (like point, line, and plane), and texture. For instance, using circles for wheels is a kind of analogy. Moreover, images and the evidences appear similar characteristics that the individual cognition of images is likely to present distinct interpretations by various factors. In this case, several differences are likely to appear in the cognition process, where individual learning and experiences are the major effects. In a learning field, students’ cognition is acquired from the experiences in the educational trainings in various stages and further responded to the sensitivity and quality of image information processing. The relative trainings are designed through dynamic media in the animation field, in which the content performance is presented through audio/video filming and recording. The visualization process therefore is the key point in creation.
Based on Hayao Miyazaki’sanimation works and scripts as the research target and objective, this study tends to discuss the dimensions of Researcher, Learner, and Creator. Regarding Researcher, the composition of the animation works is analyzed for understanding the differences in the relations and the sequence of ideas. In terms of Learner,Two-way Analysis of Variance is utilized for understanding students’ cognition and attitudes towards images with quantitative orientation. In regard to Creator, the scripts of Howl’s Moving Castle are taken as the setting and operation of research tools, and Protocol Analysis and Ex Post Facto are applied to discussing the creator’s thinking process in the conversion of description into visual pictures.
The analyses show that (1) role definition is the major consideration in the model design, (2) Outdoor Suburb scenes are often applied to the space in Hayao Miyazaki’s animation, (3) Theatrical Property is functioned to promote the circumstances in Hayao Miyazaki’s animation, (4) the learners appear obvious differences in image cognition on distinct circumstances, (5) high and low graders do not reveal obvious differences in image cognition, (6) the attributes of pauses in the scripts become the thinking points of storyboard, and (7) A creator’s design thinking relies on individual comprehension and imagination of characters, (8)After the test of the creator, the design thinking of the three situational scripts are distinct.

並列關鍵字

Image cognition ； Word to Image ； Protocol analysis

參考文獻

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