鬼片為何恐怖？ 姚鳳磐恐怖電影之接受分析研究

Abstract

恐怖片向來都被一群死忠觀眾所支持，根據佛洛伊德理論，銀幕上的畫面是 人類無意識的外射，反映出心中的閹割焦慮及死亡恐懼。 佛洛伊德（1919/1955）指出，人們內心壓抑了閹割焦慮及死亡恐懼，閹割焦慮會以斷頭或肢解呈現；而似人而非人的鬼魂，則能喚起最劇烈的死亡恐懼。日本機器人學家森政弘（1970）提出一項「恐怖谷」（uncanny valley）理論，主 張屍體、或斷手殘肢）等令人感到恐怖，是因它模糊了人類與非人類的界線。當 人體一旦發生「變異」（defamiliarization），其「相似度」與「親和感」的相關性，就在曲線圖上形成一道「恐怖谷」。 台灣「鬼片之王」姚鳳磐導演，其恐怖電影中出現許多「人體變異」畫面，本研究取徑「恐怖谷」理論，並採取量化方法，探討姚氏鬼片帶給觀眾恐怖感的原因。

Horror films have always been supported by a group of loyal audiences. According to the Freud`s theory, the ghosts on the screen is an unconscious projection, which reflects the castration anxiety and fear of death. Freud (1919/1955) points out that people depress the castration anxiety and the fear of death in their hearts. The castration anxiety is presented as broken ends or dismemberment. And the ghosts can arouse the most intense fear of death. Japanese roboticist Morihiro Mori (1970) put forward a "uncanny valley" theory, claiming that the body, or broken hand, is terrifying because it blurs the boundary between man and non-human. When the human body "defamiliarization", the relationship of "human likeness" and "affinity", to create a "uncanny valley" on the graph. Director Yao Feng-pan of Taiwan`s "King of Ghost Film" has many images of "human defamiliarization " in his horror films. This study takes the theory of "Horror Valley" and quantitative approach to explore the causes of the horror brought by Yao`s horror movies.