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題名 《崩壞女神》 劇本創作與論述
The Script and Creative Discourse of ``Wrecked Idol``作者 羅芽里
Ya-Li, Lo貢獻者 陳儒修
羅芽里
Ya-Li, Lo關鍵詞 劇本
敘事
女性電影
宅男女神
script
narrative
woman’s film
idol日期 2014 上傳時間 1-May-2015 11:29:52 (UTC+8) 摘要 《崩壞女神》劇本概念為為了演電影不惜跟導演上床的宅男女神，被宣告三年後不孕。透過宅男女神和生育議題，探討女性公眾人物和女性生命歷程，分析社會隱而不顯的性別歧視和女性形象。 本文根據Joseph Campbell的神話學敘事濃縮Campbell的英雄之旅、Maureen Murdock根據女性角色面臨父權社會的敘事分析「英雌之路」和Blake Snyder提出好萊塢電影劇本的劇情轉折表。綜合四人的敘事討論，分析劇本的三幕劇架構。同時，邀請四位業界人士評閱《崩壞女神》的劇本，分析劇本劇情架構、人物設計和可拍性等建議。彙整專家的意見，提出回應並陳述創作理念，作為後續創作與拍攝的修正方向。
The high concept of the screenplay Wrecked Idol refers to an Idol famous for her sexy body and eager to become a leading actress in film; however, she suffers from endometriosis, which might cause her infertility in the future. Based on the social perception of sexy female idol and life progress of woman, this screenplay discusses subtle topics such as sexual discrimination against woman and female gender image in daily life. Four types of storytelling techniques are introduced and employed to structure this screenplay, including Joseph Campbell, Christopher Vogler, Maureen Murdock and Blake Snyder. After the screenplay is finished, four professionals from various fields of film-TV industry are invited to examine and critique it. Their feedbacks become valuable sources from which this screenplay will be modified and improved to become a real one to be produced.參考文獻 中文文獻井迎兆（2014）。《編劇心理學：在劇本中建構衝突》。台北：五南。（原書Indick, W. [2004]. Psychology for Screenwriters: Building Conflict in Your Script: Building the Conflict in Your Script. ）王國芳、郭本禹（1997）。《拉岡》。台北：生智。朱侃如譯（1997）。《千面英雄》。台北：立緒。（原書 Campbell, J. [1949]. The Hero with A Thousand Faces.）朱耘譯（2012）。《搶救貓咪：你這輩子唯一需要的編劇指南書》。台北：晴天。（原書 Snyder, B. [2005]. Save the Cat! The Last Book On Screenwriting That You’ll Ever Need. Luban, Malaysia: Big Apple Agency, Inc.）吳莉君譯（2013）。《好電影的法則》。台北：大雁文化。（原書 Landau, N. [2010]. 101 Things I Learned in Film School. New York, NY: Matthew Frederick.） 呂健忠譯（2008）。《變形記》。台北：書林。（原書 Publius Ovidius Naso）施叔青（2010）。《三世人》。台北：時報。張小虹（2011）。《女性書寫的逃逸路線：自己的房間；吳爾芙》。台北：大塊。張愛玲（2010）。〈紅玫瑰與白玫瑰〉，《紅玫瑰與白玫瑰：短篇小說集》。台北：皇冠。張愛玲（2010）。〈第二爐香〉，《傾城之戀：短篇小說集》。台北：皇冠。陳志梧譯（1991）。《看的方法》。台北：明文。（原書 Berger, J. [1972]. Ways of Seeing. British Broadcasting Corporation and Penguin Books.）曾西霸譯（2008）。《實用電影編劇技巧》。台北：遠流。（原書 Field, S. [1979]. Screenplay: The Foundations of Screenwriting.） 游宜樺譯（2012）。《電影的魔力》。台北：早安財經文化。（原書 Suber, H. [2006]. The Power of Film. Luban, Malaysia: Big Apple Tuttle-Mori Agency, Inc.）黃政淵、戴洛棻、蕭少嵫譯（2014）。《故事的解剖：跟好萊塢編劇教父學習說故事的技藝，打造獨一無二的內容、結構與風格！》。台北：漫遊者文化。（原書 McKee, R. [1997]. STORY：Substance, Structure, Style and the principles of Screenwriting. New York, NY: HarperCollins Publishers LLC.）劉良淑譯（1991）。《丁道爾舊約聖經注釋：創世紀》，台北：校園。（原書Derek Kidner）歐陽子、楊美惠、楊翠屏譯（1992）。《第二性》。台北：志文。（原書 Simonde de Beauvoir）蔡琰（2000）。《電視劇：戲劇傳播的敘事理論》。台北：三民。蔡鵑如譯（2013）。《作家之路》。台北：商周。（原書 Vogler, C. [2007]. The Writer’s Journey: Mythic Structure for Writers. Luban, Malaysia: Big Apple Agency, Inc.）外文文獻Bulter, J. (1990). Gender Trouble. London, England: Routledge. Cixous, H. (1979). The Laugh of the Medusa. (Keith and Paula Cohen, Trans.). In Elaine Marks and Isabelle de Courtivron (eds.), New French.Murdock, M. (1990). The Heroine’s Journey. New York: Random House Inc.Woolf, V. (1989). A Room of One’s Own. United States: Houghton Mifflin Harcourt.線上資料周郁蘋（2015年1月5日）。〈與婆婆聊韓劇如閨密 小S：我很愛她〉，《中時電子報》。取自http://star.chinatimes.com/news/20150105001310-261101施舜翔（2014年6月1日）。〈來自黑魔女的真愛之吻：看《黑魔女》中父權敘事改寫〉《部落格文字資料》。取自：http://a09201988.pixnet.net/blog翁羽（2013年7月10日）。〈小S微博甜嘴討好婆婆大讚其廚藝 自認和婆婆很像〉，《Yes娛樂》。取自http://tw.twent.chinayes.com/content/20130710/KH91TQZFUXSI0.shtml張弦、吳文昌（2014年6月9日）。〈與男星安志杰牽手？孫芸芸撇小王：已向婆婆報備！〉，《三立新聞網》。取自http://www.setn.com/E/News.aspx?PageGroupID=8&NewsID=26330教育部（2013年）。〈大專院校學生人數---按性別與學門別分（百分比）〉。取自http://www.edu.tw/蘋果日報（2014年2月9日）。〈孫芸芸逛自家微風兼巡場 婆媳同心鋪地墊〉。取自http://ent.appledaily.com.tw/enews/article/entertainment/20140209/35629028Boot, W. (2014, December 12). Exclusive: Sony Hack Reveals Jennifer Lawrence Is Paid Less Than Her Male Co-Stars. The Daily Beast. Retrieved from http://www.thedailybeast.com/Emma Watson (2014). Emma Watson: Gender equality is your issue too. UN Woman. Retrieved from http://www.unwomen.org/enHiscock, J.(2008). Diablo Cody:`I feel more naked writing than I did as a stripper`. The Telegraph. Retrieved from http://www.telegraph.co.uk/Howell, P. (2008). Juno star has a mind of her own. Toronto Star. Retrieved from http://www.thestar.com/International Women`s Media Foundation (2011). Global Report on the Status of Women in the News Media. Retrieved from http://www.iwmf.org/our-research/global-report/Kashner, S. (2014, October 17). Both Huntress and Prey. Vanity Fair. Retrieved from http://www.vanityfair.com/電影資料井上博明 (Producer), & 今敏 (Director). (1998). Perfect Blue. [Motion picture]. Japan: MADHOUSE. Aronson, L., Greenhut, R. (Producer), & Allen, W. (Writer/ Director). (1995). Mighty Aphrodite.《非強力春藥》 [Motion picture]. United States: Miramax Films. DeVito, D., Sher, S., Shamberg, M., Lyon, G., Hardy, J. (2000). Erin Brockovich. 《永不妥協》[Motion picture]. United States: Universal Pictures. & Columbia Pictures.Eastwood, C., Kennedy, K. (Producer), & Eastwood, C. (1995). The Bridges of Madison County.《麥迪遜之橋》 [Motion picture]. United States: Warner Bros.Finerman, H., (Producer), & Frankel, D. (Director). (2006). The Devil Wears Prada. 《穿著Prada的惡魔》 [Motion picture]. United States: 20th Century Fox.Fischoff, R., Jaffe, S.R. (Producer), & Benton, R. (Director). (1979). Kramer vs. Kramer. 《克拉瑪對克拉瑪》 [Motion picture]. United States: Columbia Pictures. Greenhut, R., Aronson, L., Beaucaire. J. E., Doumanian, J., Joffe, C. H., Rollins. J. (Producer), & Allen, W. (Writer/ Director). Bullets Over Broadway. 《子彈橫飛百老匯》[Motion picture]. United States: Miramax Films. Halfon, L., Malkovich, J., Novick, M., Smith, R. (Producer), & Reitman, J. (Director). (2007). Juno. 《鴻孕當頭》 [Motion picture]. Canada & United States: Fox Searchlight Pictures.Handel, A., Franklin, S., Medavoy, M., Messer, A., Oliver, B. (Producer), & Aronofsky, D. (Director). (2010). Black Swan.《黑天鵝》 [Motion picture]. United States: Fox Searchlight Pictures.HBO. (Producer). (1998-2004). Sex and the City.《慾望城市》 [Television series]. United States: HBO. Heyman, D. (Producer), & Columbus, C. (Director). (2002). Harry Potter and the Chamber of Secrets. 《哈利波特：消失的密室》 [Motion picture]. United States: Warner Bros. Pictures. Kennedy, K., Marshall, F., Chaffin, C. (Producer), & Fincher, D. (Director). (2008). The Curious Case of Benjamin Button. 《班傑明的奇幻旅程》[Motion picture]. United States: Paramount Pictures & Warner Bros. Pictures.Milchan, A., Reuther, S., Goldstein, G.W. (Producer), & Marshall, G. (Director). (1990). Pretty Woman. 《麻雀變鳳凰》 [Motion picture]. United States: Buena Vista Pictures.Roth, J. (Producer), & Stromberg, R. (Director). (2014). Maleficent. 《黑魔女》[Motion picture]. United States: Walt Disney Studios Motion Pictures.Roven, C., Suckle, R., Ellison, M., Gordon, J. (Producer), & Russell, D.O. (Director). (2013). American Hustle. 《瞞天大佈局》 [Motion picture]. United States: Columbia Pictures, Australia: Roadshow Entertainment.Ruddy, A. S. (Producer), & Coppola, F. F. (Director). (1972). The Godfather.《教父》[Motion picture]. United States: Paramount Pictures. Utt, K., Saxon, E., Bozman, R. (Producer), & Demme, J. (Director). (1991). The Silence of the Lambs. 《沉默的羔羊》 [Motion picture]. United States: Orion Pictures.Webber, A.L. (Producer), & Schumacher, J. (Director). (2004). The Phantom of the Opera. 《歌劇魅影》 [Motion picture]. United States. & United Kingdom: Warner Bros. Pictures. 描述 碩士
國立政治大學
廣播電視學研究所
100453009
103資料來源 http://thesis.lib.nccu.edu.tw/record/#G1004530091 資料類型 thesis dc.contributor.advisor 陳儒修 zh_TW dc.contributor.author (Authors) 羅芽里 zh_TW dc.contributor.author (Authors) Ya-Li, Lo en_US dc.creator (作者) 羅芽里 zh_TW dc.creator (作者) Ya-Li, Lo en_US dc.date (日期) 2014 en_US dc.date.accessioned 1-May-2015 11:29:52 (UTC+8) - dc.date.available 1-May-2015 11:29:52 (UTC+8) - dc.date.issued (上傳時間) 1-May-2015 11:29:52 (UTC+8) - dc.identifier (Other Identifiers) G1004530091 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/74906 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 廣播電視學研究所 zh_TW dc.description (描述) 100453009 zh_TW dc.description (描述) 103 zh_TW dc.description.abstract (摘要) 《崩壞女神》劇本概念為為了演電影不惜跟導演上床的宅男女神，被宣告三年後不孕。透過宅男女神和生育議題，探討女性公眾人物和女性生命歷程，分析社會隱而不顯的性別歧視和女性形象。 本文根據Joseph Campbell的神話學敘事濃縮Campbell的英雄之旅、Maureen Murdock根據女性角色面臨父權社會的敘事分析「英雌之路」和Blake Snyder提出好萊塢電影劇本的劇情轉折表。綜合四人的敘事討論，分析劇本的三幕劇架構。同時，邀請四位業界人士評閱《崩壞女神》的劇本，分析劇本劇情架構、人物設計和可拍性等建議。彙整專家的意見，提出回應並陳述創作理念，作為後續創作與拍攝的修正方向。 zh_TW dc.description.abstract (摘要) The high concept of the screenplay Wrecked Idol refers to an Idol famous for her sexy body and eager to become a leading actress in film; however, she suffers from endometriosis, which might cause her infertility in the future. Based on the social perception of sexy female idol and life progress of woman, this screenplay discusses subtle topics such as sexual discrimination against woman and female gender image in daily life. Four types of storytelling techniques are introduced and employed to structure this screenplay, including Joseph Campbell, Christopher Vogler, Maureen Murdock and Blake Snyder. After the screenplay is finished, four professionals from various fields of film-TV industry are invited to examine and critique it. Their feedbacks become valuable sources from which this screenplay will be modified and improved to become a real one to be produced. en_US dc.description.tableofcontents 第壹章 創作動機 1第一節 創作源起 1第二節 創作理念 3第貳章 相關創作論述 6第一節 女性公眾人物 7第二節 女性生命歷程 12第三節 敘事之路 16第參章 劇本結構 22第一節 角色設計 23（一） 女主角 林泳心 23（二） 男性角色 李子奇與盧少匡 25（三） 女配角 蘇姐與藍一姍 27（四） 男配角 陳醫生與阿勳 27第二節 本事 28第三節 故事結構 35第肆章 作品評估與建議 40第伍章 結論 48第一節 創作反思 48第二節 後續創作與拍攝建議 50參考資料 51附錄一 《崩壞女神》劇本全文 56附錄二 《崩壞女神》分場劇本 98附錄三 吳洛纓編劇訪談逐字稿 113附錄四 侯季然導演《崩壞女神》劇本建議全文 116附錄五 黃政淵老師《崩壞女神》劇本建議全文 117附錄六 張庭翡監製《崩壞女神》劇本建議全文 119 zh_TW dc.format.extent 9253136 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G1004530091 en_US dc.subject (關鍵詞) 劇本 zh_TW dc.subject (關鍵詞) 敘事 zh_TW dc.subject (關鍵詞) 女性電影 zh_TW dc.subject (關鍵詞) 宅男女神 zh_TW dc.subject (關鍵詞) script en_US dc.subject (關鍵詞) narrative en_US dc.subject (關鍵詞) woman’s film en_US dc.subject (關鍵詞) idol en_US dc.title (題名) 《崩壞女神》 劇本創作與論述 zh_TW dc.title (題名) The Script and Creative Discourse of ``Wrecked Idol`` en_US dc.type (資料類型) thesis en dc.relation.reference (參考文獻) 中文文獻井迎兆（2014）。《編劇心理學：在劇本中建構衝突》。台北：五南。（原書Indick, W. [2004]. Psychology for Screenwriters: Building Conflict in Your Script: Building the Conflict in Your Script. ）王國芳、郭本禹（1997）。《拉岡》。台北：生智。朱侃如譯（1997）。《千面英雄》。台北：立緒。（原書 Campbell, J. [1949]. The Hero with A Thousand Faces.）朱耘譯（2012）。《搶救貓咪：你這輩子唯一需要的編劇指南書》。台北：晴天。（原書 Snyder, B. [2005]. Save the Cat! The Last Book On Screenwriting That You’ll Ever Need. Luban, Malaysia: Big Apple Agency, Inc.）吳莉君譯（2013）。《好電影的法則》。台北：大雁文化。（原書 Landau, N. [2010]. 101 Things I Learned in Film School. New York, NY: Matthew Frederick.） 呂健忠譯（2008）。《變形記》。台北：書林。（原書 Publius Ovidius Naso）施叔青（2010）。《三世人》。台北：時報。張小虹（2011）。《女性書寫的逃逸路線：自己的房間；吳爾芙》。台北：大塊。張愛玲（2010）。〈紅玫瑰與白玫瑰〉，《紅玫瑰與白玫瑰：短篇小說集》。台北：皇冠。張愛玲（2010）。〈第二爐香〉，《傾城之戀：短篇小說集》。台北：皇冠。陳志梧譯（1991）。《看的方法》。台北：明文。（原書 Berger, J. [1972]. Ways of Seeing. British Broadcasting Corporation and Penguin Books.）曾西霸譯（2008）。《實用電影編劇技巧》。台北：遠流。（原書 Field, S. [1979]. Screenplay: The Foundations of Screenwriting.） 游宜樺譯（2012）。《電影的魔力》。台北：早安財經文化。（原書 Suber, H. [2006]. The Power of Film. Luban, Malaysia: Big Apple Tuttle-Mori Agency, Inc.）黃政淵、戴洛棻、蕭少嵫譯（2014）。《故事的解剖：跟好萊塢編劇教父學習說故事的技藝，打造獨一無二的內容、結構與風格！》。台北：漫遊者文化。（原書 McKee, R. [1997]. STORY：Substance, Structure, Style and the principles of Screenwriting. New York, NY: HarperCollins Publishers LLC.）劉良淑譯（1991）。《丁道爾舊約聖經注釋：創世紀》，台北：校園。（原書Derek Kidner）歐陽子、楊美惠、楊翠屏譯（1992）。《第二性》。台北：志文。（原書 Simonde de Beauvoir）蔡琰（2000）。《電視劇：戲劇傳播的敘事理論》。台北：三民。蔡鵑如譯（2013）。《作家之路》。台北：商周。（原書 Vogler, C. [2007]. The Writer’s Journey: Mythic Structure for Writers. Luban, Malaysia: Big Apple Agency, Inc.）外文文獻Bulter, J. (1990). Gender Trouble. London, England: Routledge. Cixous, H. (1979). The Laugh of the Medusa. (Keith and Paula Cohen, Trans.). In Elaine Marks and Isabelle de Courtivron (eds.), New French.Murdock, M. (1990). The Heroine’s Journey. New York: Random House Inc.Woolf, V. (1989). A Room of One’s Own. United States: Houghton Mifflin Harcourt.線上資料周郁蘋（2015年1月5日）。〈與婆婆聊韓劇如閨密 小S：我很愛她〉，《中時電子報》。取自http://star.chinatimes.com/news/20150105001310-261101施舜翔（2014年6月1日）。〈來自黑魔女的真愛之吻：看《黑魔女》中父權敘事改寫〉《部落格文字資料》。取自：http://a09201988.pixnet.net/blog翁羽（2013年7月10日）。〈小S微博甜嘴討好婆婆大讚其廚藝 自認和婆婆很像〉，《Yes娛樂》。取自http://tw.twent.chinayes.com/content/20130710/KH91TQZFUXSI0.shtml張弦、吳文昌（2014年6月9日）。〈與男星安志杰牽手？孫芸芸撇小王：已向婆婆報備！〉，《三立新聞網》。取自http://www.setn.com/E/News.aspx?PageGroupID=8&NewsID=26330教育部（2013年）。〈大專院校學生人數---按性別與學門別分（百分比）〉。取自http://www.edu.tw/蘋果日報（2014年2月9日）。〈孫芸芸逛自家微風兼巡場 婆媳同心鋪地墊〉。取自http://ent.appledaily.com.tw/enews/article/entertainment/20140209/35629028Boot, W. (2014, December 12). Exclusive: Sony Hack Reveals Jennifer Lawrence Is Paid Less Than Her Male Co-Stars. The Daily Beast. Retrieved from http://www.thedailybeast.com/Emma Watson (2014). Emma Watson: Gender equality is your issue too. UN Woman. Retrieved from http://www.unwomen.org/enHiscock, J.(2008). Diablo Cody:`I feel more naked writing than I did as a stripper`. The Telegraph. Retrieved from http://www.telegraph.co.uk/Howell, P. (2008). Juno star has a mind of her own. Toronto Star. Retrieved from http://www.thestar.com/International Women`s Media Foundation (2011). Global Report on the Status of Women in the News Media. Retrieved from http://www.iwmf.org/our-research/global-report/Kashner, S. (2014, October 17). Both Huntress and Prey. Vanity Fair. Retrieved from http://www.vanityfair.com/電影資料井上博明 (Producer), & 今敏 (Director). (1998). Perfect Blue. [Motion picture]. Japan: MADHOUSE. Aronson, L., Greenhut, R. (Producer), & Allen, W. (Writer/ Director). (1995). Mighty Aphrodite.《非強力春藥》 [Motion picture]. United States: Miramax Films. DeVito, D., Sher, S., Shamberg, M., Lyon, G., Hardy, J. (2000). Erin Brockovich. 《永不妥協》[Motion picture]. United States: Universal Pictures. & Columbia Pictures.Eastwood, C., Kennedy, K. (Producer), & Eastwood, C. (1995). 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