| dc.contributor.advisor | 林玲遠 | zh_TW |
| dc.contributor.author (Authors) | 呂昀儒 | zh_TW |
| dc.contributor.author (Authors) | Lu, Yun-Ru | en_US |
| dc.creator (作者) | 呂昀儒 | zh_TW |
| dc.creator (作者) | Lu, Yun-Ru | en_US |
| dc.date (日期) | 2022 | en_US |
| dc.date.accessioned | 1-Feb-2023 14:16:19 (UTC+8) | - |
| dc.date.available | 1-Feb-2023 14:16:19 (UTC+8) | - |
| dc.date.issued (上傳時間) | 1-Feb-2023 14:16:19 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0108464030 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/143202 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 傳播學院傳播碩士學位學程 | zh_TW |
| dc.description (描述) | 108464030 | zh_TW |
| dc.description.abstract (摘要) | 死亡作為生命中之重要議題，往往以隱沒的形式深植人們內心。傳統社會文化規範的浸潤下，我們忌諱談論死亡，進而逐漸形塑了一種閉口的默契，以致在面對死亡這個不可避免的生命週期時，我們往往不知所措。有鑑於此，本創作以談論、面對死亡的形式作為出發，結合文字與圖像，描繪身而為人面對死亡的樣態與心境。圖文故事作為形式較為自由的二維圖文媒介，打破以往圖文分離式的閱讀理解，既非純然的視覺刺激，亦非純然的文字理解。圖文共構的閱讀理解下，讀者需串連文字與圖像的關係進而解讀故事；告別在實際生活上作為一冗長且充滿挫折的旅途，在閱讀上希望營造與之相呼應的經驗，引導讀者在閱讀時，花更多的時間咀嚼、細思死亡、告別之於自己的意義。因此，本創作作為實驗性的作品，以個人經驗為起始點，欲透過圖像與文字的交織、體裁的模糊、分格的運用以及碎片化的敘事方式，營造閱讀上的「窒礙感」，並將讀者的參與納入創作的一環，引導讀者在閱讀的過程中，需不斷拼湊故事情節，並組織敘事與圖像之間的關聯性，進而在理解過程中有所共鳴，激發更多對於死亡、告別的想法與記憶，也希望讀者在這樣緩慢、有所滯留的閱讀阻力中漸漸探索屬於自己面對死亡、面對告別時更舒適安好的方式；最後，也希望透過整體的故事脈絡呼應「人有厚度」一主旨，用更加開放且中性的視角去認識、感知生活中的一切。 | zh_TW |
| dc.description.abstract (摘要) | Death, a significant issue throughout our lives, is usually rooted deeply down in people’s hearts, in a hidden manner. Imperceptibly absorbed in social norms nowadays, we refuse to put death into discussion, which gradually gets into the habit of being silent. As a consequence, we always feel overwhelmed in the presence of death which is the inevitable cycle in life. In the light of this, this work starts as the form of talking about and facing death, combining with words and graphics in an attempt to depict the appearance and the state of mind in the moment we human beings are confronted with death.Graphic stories, a kind of 2D graphic media which holds more spaces on the form have refreshed previous understanding that graphics and words are usually defined as two separate ways of information processing. It is neither a complete visual stimulation nor a pure reading processing. Under the co-construction of graphics and words, readers have to connect the contexts and the graphics in order to interpret the whole story. As stated above, saying goodbye is a lengthy journey full of frustration. With a view to build experiences corresponding to this journey, this work endeavors to lead readers to spend more time chewing on the meaning of death and goodbye to themselves.Therefore, this work inspired by personal experience serves as an experimental one looks forward to achieve three goals. First of all, this work hopes to establish reading friction through the collaboration of graphics and words, the ambiguous genre, the application of storyboards and fragmented narrative. At the same time, reader involvement is also concluded in this process, as they need to keep piecing all the plots together and organizing the relationship between narrative and graphics so as to resonate with the work, even arouse more thoughts and memories about death and goodbye. Second, during this process, this work expects that readers can gradually find their own way to face death and goodbye at ease. Last but not least, this work hopes to put an emphasis on the thickness and depth that people born to have via the whole story, which lead us to know and feel our lives more openly without prejudice. | en_US |
| dc.description.tableofcontents | 目次第一章 前言 1第一節 創作動機：解題 1第二節 提問 3第三節 創作理念與目的 5第二章 創作背景與脈絡分析 6第一節 敘事作品中與死亡的照面 6第二節 閱讀阻力的營造 15第三節 概念聚焦－營造閱讀阻力之方法技巧 17第三章 創作內容方向 20第一節 故事 20第二節 角色 23第三節 美術設定 25第四節 角色獨白 33第四章 作品回饋結合於創作過程 47第一節 回饋蒐集流程與訪綱 47第二節 回饋分析彙整 48第三節 小結 51第五章 成果回饋與反思 53第一節 訪談對象調整與訪綱 53第二節 《床邊故事》讀者回饋分析 54第三節 暫時的盡頭—結論 64第六章 反思與概念化 66第一節 變相的藝術治療 67第二節 方法技巧－創作過程於閱讀阻力 70第三節 創意價值與貢獻－研究價值探析 75第七章 參考文獻 78 | zh_TW |
| dc.format.extent | 12791874 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0108464030 | en_US |
| dc.subject (關鍵詞) | 死亡 | zh_TW |
| dc.subject (關鍵詞) | 圖文故事 | zh_TW |
| dc.subject (關鍵詞) | 碎片化敘事 | zh_TW |
| dc.subject (關鍵詞) | 讀者參與 | zh_TW |
| dc.subject (關鍵詞) | 閱讀阻力 | zh_TW |
| dc.subject (關鍵詞) | Death | en_US |
| dc.subject (關鍵詞) | Graphic story | en_US |
| dc.subject (關鍵詞) | Fragmented narrative | en_US |
| dc.subject (關鍵詞) | Reader involvement | en_US |
| dc.subject (關鍵詞) | Reading friction | en_US |
| dc.title (題名) | 圖文作品《床邊故事》創作論述 —— 閱讀阻力於死亡議題 | zh_TW |
| dc.title (題名) | The Creation of Reading Friction in A Graphic Story About Death | en_US |
| dc.type (資料類型) | thesis | en_US |
| dc.relation.reference (參考文獻) | 范銀霞（2014）。〈圖像小說的表現形式與意義建構之關係〉，《藝術研究期刊》，10: 67-104。楊晨（2017）。〈謎題電影的敘事視角〉.《當代電影》, 1: 38–41。劉雲舟譯（2012）。《什麽是電影叙事學，北京：北京大學。（原書：Gaudreault,A., & Jost, F. [2000]. Le Recit Cinematographique. Paris: Nathan Cinema.）鄭慕尼（2009）。〈多元故事與複格--《迷走青春》的前衛實踐〉，《藝術論. 壇》，7: 19-36。Avrahami. (2006). Visual Art Therapy’s Unique Contribution in the Treatment of Post-Traumatic Stress Disorders. Journal of Trauma & Dissociation, 6(4), 5–38. https://doi.org/10.1300/J229v06n04_02Buckland, W. (Ed.). (2009). Puzzle films: complex storytelling in contemporary cinema. Malden, MA: Wiley-Blackwell Publishers. Retrieved fromhttps://fliphtml5.com/nphfv/qodr/basicCampora, M. (2014). Subjective realist cinema: from expressionism to Inception. New York, Oxford: Berghahn Books.Genette, G. (1988). Narrative discourse revisited. New York: Cornell University Press.Conley, H. (2021). Death Anxiety, Artmaking and the Facilitation of Death Discourse.Sidore, D. (2009). Puzzle films: Complex storytelling in contemporary cinema [Review of Puzzle Films: Complex Storytelling in Contemporary Cinema]. Film Criticism, 34(1), 76–79.Smith, E. (2000). Thread structure: Rewriting the Hollywood Formula. Journal of Film and Video, 51, 88-96.Spiegel, D., Malchiodi, C., Backos, A., & Collie, K. (2006). Art therapy for combat-related PTSD: Recommendations for research and practice. Art Therapy, 23(4), 157-164. | zh_TW |
