dc.contributor.advisor | 林玲遠 | zh_TW |
dc.contributor.advisor | Lin, Ling-Yuan | en_US |
dc.contributor.author (Authors) | 徐晟軒 | zh_TW |
dc.contributor.author (Authors) | Hsu, Cheng-Hsuan | en_US |
dc.creator (作者) | 徐晟軒 | zh_TW |
dc.creator (作者) | Hsu, Cheng-Hsuan | en_US |
dc.date (日期) | 2021 | en_US |
dc.date.accessioned | 2-Mar-2021 14:59:38 (UTC+8) | - |
dc.date.available | 2-Mar-2021 14:59:38 (UTC+8) | - |
dc.date.issued (上傳時間) | 2-Mar-2021 14:59:38 (UTC+8) | - |
dc.identifier (Other Identifiers) | G0105464034 | en_US |
dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/134216 | - |
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) | 105464034 | zh_TW |
dc.description.abstract (摘要) | 似顏繪創作是現今十分流行的圖像創作主題,不論是在廣告界、遊戲圈,或是在文創市集中都能看見與似顏繪相關的元素出現。似顏繪的主要目的是要讓圖像與被描繪的人物連結,但創作者間對於似顏繪的看法各有不同,他們有不同的創作手法,最後作品的樣貌也都各有特色。因此令筆者好奇創作者們是如何感知他所觀察的對象,如何讓創作出的作品與被畫者相似? 本研究首先比較三種圖像感知與再現的理論,最後以能供性理論為本,使用深度訪談法及觀察法的方式探討似顏繪創作者如何感知被畫者的能供性,似顏繪創作者的自我結構、文化共識、創作情境這三個方面如何影響創作者對被畫者特徵的拾取。研究發現創作者本身在創作方面的成長、學習、模仿過程會建立屬於他的獨特內在結構,經過經驗的累積與對社會、文化的觀察,內化形成相對穩定的創作方法。最後在每次的創作中受情境影響而動態改變他的創作決定,藉此建立獨特卻又合理的創作內容。 | zh_TW |
dc.description.abstract (摘要) | Nigaoe figures are very popular nowadays. Whether in the advertising industry, video games, or in the cultural and creative product market, we can see a wide application of Nigaoe. The meaning of the term “ Nigaoe” indicates the resemblance between the image and the character being portrayed. However, different Nigaoe creators have different views on resemblance. They have different creative methods, and their final works are diverse in appearance. Therefore, this research intends to explore how creators perceive and how they determine that a work has sufficient resemblance to the object.First, this research compares three theories about perception and representation. It then uses in-depth interviews and observational methods, based on ecological perspectives, to explore how Nigaoe creators perceive the affordance of the context. The results show that the creators, based on their own peculiar structure, perceive and act upon cultural and social agreement, as well as the situational feedback from their customers while they pick up the characteristics of their customer. In the continuous process of discovering social and cultural agreements, the creators develop certain styles based on their own personal structure. In the meantime, creators also dynamically change their creative decisions according to situational feedback from customers. As a result of the interaction, unique and reasonable works are produced. | en_US |
dc.description.tableofcontents | 目 次第一章 緒論 1第二章 文獻探討 3第一節 似顏繪、肖像畫與caricature 3一、肖像畫 3二、似顏繪 4三、Caricature 5四、似顏繪的當代應用與意義 6第二節 點投影理論 7第三節 符號理論 10第四節 圖像的資訊拾取 13第五節 生態觀點的符號理論 16第六節 研究聚焦 19第七節 前導研究 20一、受訪者A訪談與觀察描述 20二、受訪者B訪談與觀察描述 21三、前導分析 22第三章 研究方法 25第四章 分析與討論 27第一節 個案分析 27一、似顏繪中通用符號化的慣例 31二、似顏繪中內在情感的共鳴 34三、似顏繪中多種意涵的比喻 35第二節 能供性的三面向分析 39一、文化結構 40二、創作情境 41三、自身結構 42第五章 結論與反思 44第一節 研究結論 44第二節 研究反思 45第三節 研究限制與建議 45參考資料 47附錄一 前導研究訪綱 50附錄二 研究訪綱 51 | zh_TW |
dc.format.extent | 2956989 bytes | - |
dc.format.mimetype | application/pdf | - |
dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0105464034 | en_US |
dc.subject (關鍵詞) | 似顏繪 | zh_TW |
dc.subject (關鍵詞) | 肖像畫 | zh_TW |
dc.subject (關鍵詞) | 符號理論 | zh_TW |
dc.subject (關鍵詞) | 資訊拾取 | zh_TW |
dc.subject (關鍵詞) | 能供性 | zh_TW |
dc.subject (關鍵詞) | 符擔性 | zh_TW |
dc.subject (關鍵詞) | Nigaoe | en_US |
dc.subject (關鍵詞) | Portrait | en_US |
dc.subject (關鍵詞) | Semiotics | en_US |
dc.subject (關鍵詞) | Affordance | en_US |
dc.title (題名) | 似顏繪的像與不像 — 圖像創作的感知研究 | zh_TW |
dc.title (題名) | The Study of the Likeness of Nigaoe:Exploring the Way Illustrators Perceive | en_US |
dc.type (資料類型) | thesis | en_US |
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dc.identifier.doi (DOI) | 10.6814/NCCU202100343 | en_US |