以《蟲洞》動畫短片創作探討記憶與夢境之旅程

Discussion on the Journey of Memory and Dream by the Animated Short Film “Wormhole”

曹議庭(Yi-Ting Tsao)

指導教授 ： 黃雅玲

共同指導教授 ： 鄧偉炘(Wei-Hsin Teng)

崑山科技大學/創意媒體學院/視覺傳達設計研究所/碩士(2012年)

https://doi.org/10.6828/KSU.2012.00083

摘要

超現實是現實中的反常，它是非理性邏輯下的產物，常無法讓人輕易理解產生共鳴；夢是真實願望達成的前置作業，在潛意識中無法獲得平衡宣洩時，夢中容易產生逃避與凝縮作用。以超現實與夢境而言，兩著相似處，都必須從精神分析過程之中了解心靈的慾望，此為創作階段的一次撞擊─夢境之探索。影像在視覺中是一種擬像，具有符號的意義，可依照自身的情感投射轉化為視覺傳遞的語言；複合媒材形式動畫是一種創作的表現技法，具有高度實驗精神，跨越創作形式使媒材與媒體結合，兩著共同處是視覺傳遞語言的實驗性，此為創作階段的二次撞擊─表現手法整合。影像觀點敘述結構牽動看待事件的角度，主要以客觀與主觀鏡頭替代人類肉眼觀察視點；蒙太奇是指多個影像重組，以正反排列組合使影像產生新的意義，兩者之間存在著相互轉換的關係，藉由鏡頭語言的特性陳述對影像事件不同看法，在此為創作的三次撞擊─視覺觀點重組。

實驗動畫創作《蟲洞》是啟動自我與心靈溝通的途徑，在大腦儲存記憶過程中隨著時間過去，現在與未來；時空轉換賦予真實的情感也涵蓋想像空間，超現實為尋求未知的世界與內心的情感，有太多面相可分析探討，主要目的是期望創作前藉此三階段撞擊，透過理性「衝突」進而校正創作思維，試圖以視覺語言賦予動畫短片作品最真摯的情感。

關鍵字

超現實 ； 夢境 ； 蟲洞 ； 複合媒材 ； 蒙太奇

並列摘要

Super-reality is the abnormality in reality; it is the product of irrational logic hardly comprehensive and sympathetic for people. Dream is the prelude before the wish comes true. When one fails to balance and find an outlet for the bursting emotions in subconsciousness, escape and concentration action tends to occur in the dream easily. For super-reality and dream land, the similarity lies in exploring human desires in their minds through the psychoanalytical process, which produces the first impact of creation- exploration in dreams. Image is a kind of simulacrums in visual sense. It carries the meaning of symbols that can be rejected and transformed into language delivered by vision in accordance with personal emotions. As for multiple media animation, it is one of the creative expression techniques with highly experimental spirit. On the other hand, cross creative forms combine the material and the media. Both of image and multiple media animation possess the experimental property in delivering language via visual sense, leading to the second impact in creation phase- integration of expression techniques. Moreover, image perspective accounts for the influence of narrative structure on the angle people regard events. It observes viewpoint by objective and subjective lens instead of human eyes. Meanwhile, montage refers to multiple iterative reconstruction that endows fresh implication on the images by right-and-left permutation and combination. There is interconversive relationship between image perspective and montage. By means of the characteristics of the lens’ language, image events are narrated from different viewpoints, which forms the impact in the third phase—visual perspective reconstruction.

The experimental animation “Wormhole” is an approach that launches communication between the self and the mind. It pass through the past, now, and future in process of saving memory in the brain. Conversion of time and space not only endows true feelings but also covers imaginary space. We have many facets to analyze and probe into in regard of super-reality’s pursuit of the unknown world and the inner feelings. Through the three phases before creation, we expect to correct the creative thoughts via rational “conflict” to endow the animated short film with the most sincere emotions by visual language.

並列關鍵字

super-reality ； dream land ； wormhole ； multiple media ； montage

參考文獻

[3] 簡政珍著，電影閱讀美學，書林出版，台北市，1993。

[5] 林珮淳、陳啓耀，“3D電腦動畫技術、視覺語言與特質之探討”，藝術學報，第72期，國立台灣藝術大學，2003。

[20] Jim Al-Khalili著，陳雅雲譯，踏入宇宙的一小步：黑洞、蟲洞、時光機，究竟出版社，台北市，2000。

[8] 吳建立，“回歸記憶的心靈旅程之創作研究論述”，碩士論文，崑山科技大學，2011。

[8] 保羅•戴維斯(Paul Davies)著，郭兆林譯，如何建造時光機，大塊文化，台北市，2004。