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題名 技術與理論的融合：台灣電影創作的攝影技術、空間敘事與視覺美學(1995-2024）
The Fusion of Technology and Theory: Cinematography Technology, Spatial Narrative, and Visual Aesthetics of Taiwanese Film Production (1995-2024)作者 王公誠
Wang, Kungcheng貢獻者 陳儒修
Chen, Ru-Shou
王公誠
Wang, Kungcheng關鍵詞 台灣電影
攝影技術
空間敘事
視覺美學
數位電影技術
Taiwan Cinema
Cinematography
Spatial Narrative
Aesthetics of Contemporary Cinema
Digital Cinematic Technologies日期 2025 上傳時間 4-Aug-2025 15:27:33 (UTC+8) 摘要 本研究以「技術與理論的融合：台灣電影創作的攝影技術、空間敘事與視覺美學」為題，旨在深入探討電影技術革新與電影理論相互交融，推動台灣電影在美學表現與敘事手法上的發展與創新。於全球化與數位化的浪潮中，台灣電影產業面臨多重挑戰與機遇。隨著攝影技術演進、數位剪輯普及、視覺特效的成熟以及調光調色技術的精進，電影製作流程與美學風格開始變革。同時，巴贊（André Bazin）的寫實電影理論、蒙太奇理論、庫柏力克（Stanley Kubrick）的視覺美學，以及列斐伏爾（Henri Lefebvre）的空間哲學，為電影創作者提供了豐富的理論資源，深化台灣電影文本的意涵與表達方式。 本研究綜合上述之理論結合採立意抽樣之半結構深度訪談方式設定與中島、陳玉勳和徐漢強三位電影導演進行訪談，並融入本文研究者之好萊塢電影製作經驗，共同探討台灣電影製作創作敘事與電影技術之觀點。 本論文強調，電影技術進步與電影理論的深化，對台灣電影的美學發展與敘事創新具有關鍵作用。技術提供創作者更廣闊的表現空間，理論賦予了創作深層次的文化意義與藝術價值。面對全球化與數位化的趨勢，台灣電影應積極擁抱技術革新，深入理解並靈活運用電影理論，創造出兼具國際視野與本土特色的優秀作品。
This study investigates the dynamic interplay between technological advancement and theoretical development in shaping the visual and narrative aesthetics of contemporary Taiwanese cinema. In the context of global digital transformation, Taiwan's film industry navigates both challenges and opportunities. The evolution of photographic technology, digital editing, visual effects, and color grading has redefined cinematic production workflows and expanded aesthetic possibilities. Simultaneously, foundational theories—including André Bazin’s realism, montage theory, Stanley Kubrick’s visual aesthetics, and Henri Lefebvre’s spatial philosophy—provide critical frameworks for interpreting and enhancing cinematic expression. Methodologically, this research integrates semi-structured in-depth interviews with directors and cinematographers, combined with textual analysis of the aforementioned films. It also draws from the researcher's professional background in Hollywood production to contextualize the findings within broader industrial practices. The study concludes that the synergy between technological tools and theoretical frameworks is essential to the aesthetic and narrative evolution of Taiwanese cinema. While technological innovation expands the boundaries of cinematic expression, theoretical engagement anchors film practice in cultural and philosophical depth. 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國立政治大學
傳播學院碩士在職專班
112941003資料來源 http://thesis.lib.nccu.edu.tw/record/#G0112941003 資料類型 thesis dc.contributor.advisor 陳儒修 zh_TW dc.contributor.advisor Chen, Ru-Shou en_US dc.contributor.author (Authors) 王公誠 zh_TW dc.contributor.author (Authors) Wang, Kungcheng en_US dc.creator (作者) 王公誠 zh_TW dc.creator (作者) Wang, Kungcheng en_US dc.date (日期) 2025 en_US dc.date.accessioned 4-Aug-2025 15:27:33 (UTC+8) - dc.date.available 4-Aug-2025 15:27:33 (UTC+8) - dc.date.issued (上傳時間) 4-Aug-2025 15:27:33 (UTC+8) - dc.identifier (Other Identifiers) G0112941003 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/158746 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院碩士在職專班 zh_TW dc.description (描述) 112941003 zh_TW dc.description.abstract (摘要) 本研究以「技術與理論的融合：台灣電影創作的攝影技術、空間敘事與視覺美學」為題，旨在深入探討電影技術革新與電影理論相互交融，推動台灣電影在美學表現與敘事手法上的發展與創新。於全球化與數位化的浪潮中，台灣電影產業面臨多重挑戰與機遇。隨著攝影技術演進、數位剪輯普及、視覺特效的成熟以及調光調色技術的精進，電影製作流程與美學風格開始變革。同時，巴贊（André Bazin）的寫實電影理論、蒙太奇理論、庫柏力克（Stanley Kubrick）的視覺美學，以及列斐伏爾（Henri Lefebvre）的空間哲學，為電影創作者提供了豐富的理論資源，深化台灣電影文本的意涵與表達方式。 本研究綜合上述之理論結合採立意抽樣之半結構深度訪談方式設定與中島、陳玉勳和徐漢強三位電影導演進行訪談，並融入本文研究者之好萊塢電影製作經驗，共同探討台灣電影製作創作敘事與電影技術之觀點。 本論文強調，電影技術進步與電影理論的深化，對台灣電影的美學發展與敘事創新具有關鍵作用。技術提供創作者更廣闊的表現空間，理論賦予了創作深層次的文化意義與藝術價值。面對全球化與數位化的趨勢，台灣電影應積極擁抱技術革新，深入理解並靈活運用電影理論，創造出兼具國際視野與本土特色的優秀作品。 zh_TW dc.description.abstract (摘要) This study investigates the dynamic interplay between technological advancement and theoretical development in shaping the visual and narrative aesthetics of contemporary Taiwanese cinema. In the context of global digital transformation, Taiwan's film industry navigates both challenges and opportunities. The evolution of photographic technology, digital editing, visual effects, and color grading has redefined cinematic production workflows and expanded aesthetic possibilities. Simultaneously, foundational theories—including André Bazin’s realism, montage theory, Stanley Kubrick’s visual aesthetics, and Henri Lefebvre’s spatial philosophy—provide critical frameworks for interpreting and enhancing cinematic expression. Methodologically, this research integrates semi-structured in-depth interviews with directors and cinematographers, combined with textual analysis of the aforementioned films. It also draws from the researcher's professional background in Hollywood production to contextualize the findings within broader industrial practices. The study concludes that the synergy between technological tools and theoretical frameworks is essential to the aesthetic and narrative evolution of Taiwanese cinema. While technological innovation expands the boundaries of cinematic expression, theoretical engagement anchors film practice in cultural and philosophical depth. In the face of ongoing globalization and digital convergence, Taiwanese filmmakers are encouraged to adopt a dual strategy: embracing emergent technologies while critically applying cinematic theory to produce works that are both locally grounded and globally resonant. en_US dc.description.tableofcontents 第一章 緒論 1 第一節 研究背景與動機 1 第二節 研究問題與目的 3 第三節 章節介紹 5 第四節 分析作品簡介 7 第二章 文獻探討：光學技術發展演進 10 第一節 考古與中世紀光學 10 一. 洞穴考古光學（Cave Archaeology Optics）與火光 10 二. 始於觀察創新發明 12 三. 想像力驅使的創新與實驗 16 第二節 從攝影術到電影底片 29 一. 攝影術開端 29 二. 賽璐珞底片 37 第三章 電影技術發展演進 39 第一節 電影影像技術發展與影響 39 一. 彩色攝影技術的發展 39 二. 彩色攝影的文化與產業影響 43 三. 35mm 底片的標準化發展與影響 43 四. 數位攝影 45 第二節 電影攝影技術、空間敘事與視覺美學的技術演進 51 一. 電影攝影技術的演進 51 二. 空間敘事的技術演進 53 三. 視覺美學的技術進 57 四. 數位剪輯與後期製作技術的發展 60 第三節 電影理論概述 63 一. 蒙太奇（montage）理論 63 二. 巴贊的寫實電影理論 64 三. 史丹利・庫柏力克的視覺美學 71 四. 昂希・列斐伏爾的空間哲學 76 第四章 台灣電影技術發展與應用 79 第一節 攝影技術的進 79 一. 攝影指導的角色 79 二. 數位攝影機的普及對攝影的影響 85 第二節 巴贊與蒙太奇理論的實踐 92 一. 台灣電影中巴贊和蒙太奇手法的應用與剪輯工具的影響 92 二. 蒙太奇與敘事節奏的關係 93 第三節 數位剪輯與後期製作 96 一. 從線性剪輯到非線性剪輯的轉變 96 第五章 視覺美學在台灣電影的應用 105 第一節 視覺美學的應用 105 一. 個案分析 106 第二節 調光調色技術 112 一. 調光調色在影片風格中的作用 112 二. 數位調色技術的應用與挑戰 113 三. 個案分析 114 第六章 空間哲學在台灣電影之應用 121 第一節 列斐伏爾空間哲學的運用 121 一. 空間哲學與台灣新電影 121 二. 列斐伏爾的空間哲學應用於 2000 年後的台灣電影 123 三. 作品比較分析 124 第二節 視覺特效的應用 127 一. 視覺特效在台灣電影中的應用 127 二. 低成本特效的創新策略 130 第七章 結論 133 第一節 研究總結 133 一. 技術發展與電影理論對台灣電影的雙重影響 133 二. 技術與理論融合的重要性 134 第二節 研究貢獻 136 一. 光學科學歷史資料整理 136 二. 對台灣電影技術理論融合的系統性分析 136 三. 庫柏力克電影與拍攝技術手法影響台灣電影創作 138 四. 列斐伏爾空間哲學理論應用於電影空間之敘事論述 139 第三節 研究限制與未來研究建議 141 一. 研究限制 141 二. 深入研究新技術對電影美學的影響 141 三. 拓展其他電影理論在台灣的應用研究 143 參考文獻 144 附錄一 受訪者訪談同意書 154 zh_TW dc.format.extent 108753629 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0112941003 en_US dc.subject (關鍵詞) 台灣電影 zh_TW dc.subject (關鍵詞) 攝影技術 zh_TW dc.subject (關鍵詞) 空間敘事 zh_TW dc.subject (關鍵詞) 視覺美學 zh_TW dc.subject (關鍵詞) 數位電影技術 zh_TW dc.subject (關鍵詞) Taiwan Cinema en_US dc.subject (關鍵詞) Cinematography en_US dc.subject (關鍵詞) Spatial Narrative en_US dc.subject (關鍵詞) Aesthetics of Contemporary Cinema en_US dc.subject (關鍵詞) Digital Cinematic Technologies en_US dc.title (題名) 技術與理論的融合：台灣電影創作的攝影技術、空間敘事與視覺美學(1995-2024） zh_TW dc.title (題名) The Fusion of Technology and Theory: Cinematography Technology, Spatial Narrative, and Visual Aesthetics of Taiwanese Film Production (1995-2024) en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 王志弘（2009）。〈多重的辯證列斐伏爾空間生產概念三元組演繹與引申〉，《地理學報》，55，1-24。http://dx.doi.org/10.6161/jgs.2009.55.01 古淑薰（2004）。〈朱延平談數位電影〉，《中華民國電影年鑑民國93年》，31-33。行政院新聞局。 林松輝（2016）。《蔡明亮與緩慢電影》。國立臺灣大學出版中心。 洪國鈞（2018）。《國族音影：書寫台灣・電影史》。聯經出版。 唐明珠（2024）。《是電影，也是人生：1970-1990年的台灣電影攝影師》。書林出版社。 許綺玲譯（1998）。《迎向靈光消逝的年代》。台灣攝影工作室。（原書 Benjamin, W. 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