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    Please use this identifier to cite or link to this item: http://nccur.lib.nccu.edu.tw/handle/140.119/57139


    Title: 《雙瞳》的雙重視點:空間化的敘述與看得見/看不見的特效
    Dual Viewpoints for Double Vision: Spatialized Narration and In/Visible Special Effects Abstract
    Authors: 陳儒修
    Chen, Ru-Shou Robert
    Contributors: 政大廣告系
    Keywords: 雙瞳;數位科技;特效;台灣電影
    Double Vision;digital technology;special effects;Taiwan cinema
    Date: 2006-03
    Issue Date: 2013-03-13 15:04:40 (UTC+8)
    Abstract: 2002年的《雙瞳》為台灣電影創造新局面。一方面,它的製作與行銷經費都令其他台灣電影刮目相看,在票房上也是近年來少有的豐收;另一方面,本片跟之前的《臥虎藏龍》一樣,充滿種種矛盾性與曖昧性:它比《臥》更像台灣電影,但是導演不斷要去除它的國片影子;它的故事好像發生在台灣,但卻不是我們認識熟悉的台灣;還有,它描述的是台灣警察辦案的過程,卻由梁家輝操著香港國語飾演台灣警察,並請來美國明星飾演FBI探員來協助辦案。《雙瞳》的片名具體反映上述的雙重矛盾性。本論文同樣要處理影片的兩個雙重性,一個是敘述結構空間化的概念,傳統的敘述結構是以時間為主軸,由片中的主角依時往前推進,直至故事的終結。《雙瞳》是以空間為主軸,更有甚者,它是以屍體推動敘述結構的前進,故事的結束是主角的死亡,而非英雄的勝利。另一個雙重性則要討論影片中出現看得見的特效,以及看不見的特效,藉此回顧電影百年來的發展,對於「真實」這個重大議題究竟是如何著墨,還有就是數位科技所帶來的衝擊,對於電影的本質究竟產生什麼樣的影響。
    Double Vision(2002)created vastly new prospects for Taiwan's film industry. Its production and marketing costs far surpassed those of other Taiwan films, and ticket sales were also exceptional for any recent one. In addition, like the earlier film Crouching Tiger, Hidden Dragon, Double Vision is full of all kinds of contradiction and ambiguity. While it is a more typical Taiwanese movie than Crouching Tiger, Hidden Dragon, the director went to great lengths to distance the film from the stereotyped image of a Taiwanese movie. While the story seems to take place in Taiwan, it is not the Taiwan we are familiar with. Furthermore, there are Hong Kong idol Tony Leung Ka-Fai playing a Taiwanese policeman with a Hong Kong Mandarin accent to pursue homicide cases in the film, and an American star playing the FBI agent who is called on to provide assistance. The title "Double Vision" specifically reflects the foregoing dual contradictions. This paper similarly seeks to account for the film's dualities, of which one is the portrayal of the concept of structural spatialization. Narrative structures in this film are traditionally presented from the angle of time, and the lead character is propelled forward in time until the end of the story. Double Vision, however, has a spatial orientation. Even more striking is the fact that the movie uses corpses to drive the narrative structure forward, and the conclusion of the story is the death of the protagonist, and not his heroic triumph. The other duality involves the film's visible and invisible special effects. Looking back on the technological development of cinema over the last century, the paper examines how the major issues of realism, and also the impact of digital technology, have affected the essential nature of the film.
    Relation: 電影欣賞,126,76-81
    Data Type: article
    Appears in Collections:[廣播電視學系] 期刊論文

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