本研究以俄國電影導演艾森斯坦之垂直蒙太奇(vertical montage)理論做為研究架構,並採用艾森斯坦發明之音畫圖為分析工具,針對電影文本《海角七號》之劇內音樂作文本分析。藉由對故事結構、音樂使用時機、樂曲結構、分鏡等的解構,探討電影音樂與影像的協調、對位,闡釋電影劇內音樂所扮演的角色及敘事功能。研究發現,在商業機制的影響下,電影音樂的分工與表現方式越見多元;現今的電影劇內音樂確實具有強大的敘事性,可作為電影主要場景中的敘事主體。然而,劇內音樂仍未到達「獨立」敘事的高度,仍須依靠畫面、歌詞輔助,才能幫助觀者更確立劇中人事物的屬性或了解劇情。因此本研究也指出,音畫之間並非從屬關係,而是平行關係。
This study will use the Russian film director S. M. Eisenstein's vertical montage theory as a research framework, and the music-scene figure as research capabilities, analyzing source music from five Taiwanese films for 2007 to 2012. By deconstructing story structure, timing of using music, song structure, and still, this study can explaine the music narrative functions and the role of source music within Taiwanese films. This Study found that commercial considerations have made the division of film music and performance diverse. Nowadays source music in Taiwanese films can be used as the main narrative subject, owning strong narrative. However, source music hasn't arrived the level of independent narrative, still relying on the auxiliary of screen and lyric s to help viewers understanding the film more. Therefore, this study also pointed out that the relationship between music and scene are not appurtenant, but parallel.