應用虛與實的交會以蒙太奇技法於文創商品的展演

吳祚朋

doi:10.6826/NUTC.2015.00047

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應用虛與實的交會以蒙太奇技法於文創商品的展演

The Creation on the Performance of Cultural and Creative Product by Adopting Montage Technique

吳祚朋 , Masters　　Advisor：王兆華　　

繁體中文 DOI： 10.6826/NUTC.2015.00047

蒙太奇；動畫；紅樓夢；多媒體；戲劇； Montage ； Animation ； Dream of Red Mansions ； Multimedia ； Drama

Abstract │ Reference (48) │ Times Cited (1) │ Altmetrics

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In the era of information explosion, the innovation and popularization in technology allow creators to have more development and possibilities at the creation methods. By digital methods, the traditional techniques can be exerted more in the creation within a shorter period of time. Many types of media materials mixed with the techniques can be applied to anywhere, not just in paper.

This work incorporates digital software, montage and micro-film plots, so that it can present the animation created via multimedia approach which is very different from the conventional methods. In this work, the main characters in "Dream of Red Mansions" were portrayed via digital painting and infused with Sinicism. All virtual figures in this animation wear the cultural and creative accessories which were designed according to their personalities. The beauty of the cultural and creative accessories design is displayed by the scenario crossing time and space shows, and it can not only enhance the audience’s interest in the story, but also reinterpret the fascinating love in "Dream of Red Mansions".
“The Mutualism of actuality and fictitiousness” is an important argument in traditional Chinese aesthetics. “Actuality” means a finite entity, and “fictitiousness” is an infinite nihility brought out by tangible ways. Actuality and fictitiousness mutually beget each other and in result all the living things in the world can be endlessly created. Through the combination of the “virtual” characters in animation and “actual” persons in micro-film, the blend of the “existence” of culture products and imaginative "fictitious" stories, this work displays the interdependence of actuality and fictitiousness. The creator expects the audience to appreciate the beauty of the cultural and creative works. In the meanwhile, they can experience the strength and esthetics via the drama.

Reference ( 48 ) 〈TOP〉

林榮泰(2011)。文化創意-非技乃道，藝術欣賞，7(2)，26-32。
連結：
吳振榮，黃鐉津，林建漢(2010)。導入原住民伴手禮包裝設計規劃。2010設計理論與實務國際研討會，101-108。
連結：
許懷文(2011)。中國大陸《喜羊羊》動畫電影行銷模式之研究。國立臺灣師範大學圖文傳播學系，碩士學位論文。
連結：
許瑄(2011)。原住民文化工藝產業發展：三家原住民工坊之經營比較研究。國立東華大學社會暨公共行政學系社會學碩士班，碩士學位論文。
連結：
張倩菁(2004)。蒙太奇手法在影像創作之表現。國立台灣師範大學設計研究所在職進修碩士班，碩士學位論文。
連結：

Times Cited (1) 〈TOP〉

江柏緯(2017)。蒙太奇在醫療傳播之應用。臺中科技大學商業設計系碩士班學位論文。2017。1-85。

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