| dc.contributor.advisor | 郭秋雯 | zh_TW |
| dc.contributor.advisor | Kuo, Chiu-Wen | en_US |
| dc.contributor.author (作者) | 蔡沁婷 | zh_TW |
| dc.contributor.author (作者) | Tsai, Chin-Ting | en_US |
| dc.creator (作者) | 蔡沁婷 | zh_TW |
| dc.creator (作者) | Tsai, Chin-Ting | en_US |
| dc.date (日期) | 2022 | en_US |
| dc.date.accessioned | 2-十二月-2022 15:21:57 (UTC+8) | - |
| dc.date.available | 2-十二月-2022 15:21:57 (UTC+8) | - |
| dc.date.issued (上傳時間) | 2-十二月-2022 15:21:57 (UTC+8) | - |
| dc.identifier (其他 識別碼) | G0108557001 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/142647 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 韓國語文學系 | zh_TW |
| dc.description (描述) | 108557001 | zh_TW |
| dc.description.abstract (摘要) | 跨媒介改編作品在全世界其實早已十分常見，像是《星際大戰》、《魔戒》、《哈利波特》等皆從原本的小說改編成動畫、電影、電玩遊戲和線上短片等，隨著科技發展，紙本漫畫也逐漸變成網路漫畫，而韓國也一直試圖發展在地原創網漫改編電視劇，2010年《瑪麗外宿中》成為韓國首部由網路漫畫改編的戲劇，隨後2014年《未生》、2016年《奶酪陷阱》、2018年《金秘書為何那樣》及近幾年的《梨泰院Class》《驅魔麵館》《如蝶翩翩》《殭屍校園》《社內相親》等，播出後都受到許多歡迎，加上影音串流平台的興起，網漫改編電視劇也逐年增加。台灣的跨媒介改編作品，主要為文學作品改編成電視劇或舞台劇，漫畫改編的戲劇作品數量則屈指可數，自2020年起文化內容策進院開始經營Creative Comic Collection創作集（簡稱CCC創作集）的網路漫畫平台之後，新一代漫畫家有更多空間能夠創作，加上韓國的網漫平台也陸續進入台灣，並鼓勵台灣的漫畫家可以產出更多作品，由此也可以看出台灣網路漫畫以及網漫改編戲劇極具發展的可能性。因此本文希望透過整理與比較原作網漫在改編成戲劇的過程中，敘事與角色有何改變，以及分析產生其差異變化的原因。另外也欲了解台灣閱聽人對於網漫改編韓劇之看法，進而整理網漫在改編成戲劇的過程中所產生的轉變，以及台灣閱聽人的認知與感受。本研究以網漫及電視劇《如蝶翩翩》（나빌레라）作為研究對象，了解網漫在改編成電視劇的過程中會產生哪些劇情與角色的差異？同時也希望能夠了解台灣閱聽人對於網漫改編電視劇之故事結構與敘事差異感受為何？首先，第一部分將透過常見的故事結構如「三幕劇」、「起承轉合」、「英雄旅程十二階段」與「電視劇故事結構五階段」來對電視劇《如蝶翩翩》進行劇本內容分析，驗證劇中的情節是否能對應上述架構。接著採用內容分析法（content analysis）分析法比較原作的網漫和改編電視劇的情節及敘事不同之處，同時分析整理其差異的原因。並且以奧斯卡・布洛克特（Oscar Brockett）的分類方法來分析角色的變化，比較原作的網路漫畫和改編電視劇的角色設定異同。第二部分則採用深度訪談法，以半結構式訪談（semi-structured interview）的方式，深入了解閱聽人對於網漫改編電視劇的相關看法。研究結果可以整理出五項結論，第一，改編電視劇的劇情與故事結構理論相呼應；第二，改編電視劇的角色變化主要為社會層面與心理層面；第三，改編電視劇的敘事方式更善於利用畫面與聲音；第四，改編電視劇的劇情編排主要利用濃縮與重構；第五，閱聽人認為改編電視劇的劇情有更多鋪陳與戲劇張力。 | zh_TW |
| dc.description.abstract (摘要) | Transmedia adaptations have been common around the world. For example, “Star Wars”, “The Lord of the Rings”, and “Harry Potter” have all been adapted from original novels into animations, movies, video games, and online short films. In Asia, there are also many animations, dramas and movies adapted from comics and novels. Following the development of technology, comic books have gradually turned into digital comics, which are also called ‘webtoons’ in Korea. Furthermore, Korea has also been trying to develop local, original TV dramas adapted from webtoons for a few years. Since “Marry Me, Mary!” which was the first TV drama adapted from a webtoon in 2010, TV dramas adapted from webtoons have been more and more popular. These include “Misaeng” in 2014, “Cheese in the Trap” in 2016, “What`s Wrong With Secretary Kim” in 2018, and “Itaewon Class”, “The Uncanny Counter”, “Navillera”, “All of Us Are Dead”, “Business Proposal” in recent years. Also, the number of TV dramas adapted from webtoons has also increased year by year.Taiwan`s transmedia adaptations are mainly TV dramas or dramatic plays adapted from literary works, and the number of TV dramas adapted from comics is very small. However, Taiwan Creative Content Agency has started to operate the Creative Comic Collection (referred to as CCC) since 2020. After the establishment of the online comic platform, the new generation of cartoonists have more space to create. In addition, Korean webtoon platforms have also entered Taiwan one after another, and encouraged Taiwan cartoonists to produce more works. From this, it can be seen that Taiwan webtoons and webtoon-adapted dramas have great potential for development.Therefore, this research hopes to organize and compare the changes in the storytelling and characters during the adaptation of the original webtoons into dramas, and analyze the reasons for the differences. In addition, this research also wants to understand the views of Taiwanese audiences on the adaptation of webtoons to TV dramas, and then categorize the changes in the process of adapting webtoons into dramas, as well as the perceptions and feelings of Taiwanese audiences.This research takes webtoon and TV drama “Navillera”(나빌레라) as the research object to understand what differences in plot and characters will occur in the process of adapting webtoons into TV dramas? At the same time, this research also hopes to know how Taiwanese audiences feel about the differences in the story structure and storytelling of webtoon-adapted TV dramas.First of all, the first part will analyze the script content of the TV dramas “Navillera” through common story structures such as “Three Acts”, “Plot twists and turns”, “The 12 Stages of the Hero`s Journey” and “The 5 Stages of TV Drama Story Structure” to verify whether the plots in the play can correspond to the above structure. Then, a content analysis method is used to compare the plot and storytelling differences between the original webtoons and the adapted TV dramas, and categorize the reasons for the differences at the same time. Besides, this research uses Oscar Brockett`s classification method to analyze the changes of characters, and compare the similarities and differences of the character settings of the original webtoon and the adapted TV drama. The second part adopts the in-depth interview method and uses a semi-structured interview method to gain an in-depth understanding of the audiences` views on the adaptation of webtoons to TV dramas.The research results can be categorized into five conclusions. First, the plot of the adapted TV dramas echoes the theory of story structure; second, the character changes of the adapted TV dramas are mainly at the social level and psychological level; third, the storytelling method of the adapted TV dramas is more often used scene and sound; fourth, the plot arrangement of the adapted TV dramas mainly uses condensation and reconstruction; fifth, the audiences think that the plot of the adapted TV dramas has more elaboration and dramatic tension. | en_US |
| dc.description.tableofcontents | I.緒論 11.研究背景與目的 12.研究對象與範圍 23.研究問題與方法 5II.文獻回顧與理論背景 71.跨媒介之網漫改編戲劇作品 82.跨媒介敘事差異 143.跨媒介角色變化 164.敘事結構理論 18III.《如蝶翩翩》個案分析 241.改編電視劇之敘事結構 242.網漫與電視劇之角色變化 383.網漫與電視劇之敘事差異 46IV.閱聽人對於《如蝶翩翩》之感受 701.閱聽人對於電視劇《如蝶翩翩》敘事結構之感受 702.閱聽人對於電視劇《如蝶翩翩》劇情差異之感受 72V.結論與研究限制 75參考文獻 77附錄一、訪談問卷 81附錄二、訪談逐字稿 82 | zh_TW |
| dc.format.extent | 26221519 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0108557001 | en_US |
| dc.subject (關鍵詞) | 網漫改編電視劇 | zh_TW |
| dc.subject (關鍵詞) | 《如蝶翩翩》 | zh_TW |
| dc.subject (關鍵詞) | 跨媒介改編 | zh_TW |
| dc.subject (關鍵詞) | 敘事結構 | zh_TW |
| dc.subject (關鍵詞) | 角色變化 | zh_TW |
| dc.subject (關鍵詞) | Webtoon-adapted TV dramas | en_US |
| dc.subject (關鍵詞) | “Navillera” | en_US |
| dc.subject (關鍵詞) | Transmedia adaptations | en_US |
| dc.subject (關鍵詞) | Narrative structure | en_US |
| dc.subject (關鍵詞) | Character changes | en_US |
| dc.title (題名) | 電視劇《如蝶翩翩》的敘事結構及跨媒介改編元素之研究 | zh_TW |
| dc.title (題名) | A Study on the Narrative Structure and Transmedia Adaptation Factors of TV Drama "Navillera" | en_US |
| dc.type (資料類型) | thesis | en_US |
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| dc.identifier.doi (DOI) | 10.6814/NCCU202201677 | en_US |
