摘要

自從電影技術的出現，各個時代的導演們嘗試將電影由單純的紀錄方式轉變為表達人類情感的工具，有些導演想讓觀眾體驗平凡生活無法經歷的刺激如動作片、驚悚片等，也有某類型的導演將未來的想像投射於電影大螢幕上如科幻片、劇情片，電影在20世紀中末期不斷的進化成長，直到電視機的普及電影遭遇到誕生以來的第一個危機，簡單低成本製作的電視影集被帶到住家客廳，人們不需要在到電影院就能觀賞非凡的故事，電影本身無法降低成本和劇場空間限制使得電影一年不如一年熱門，也因此造就了1970~1980歐洲和台灣新電影的誕生，誕生之初是為了反對以政府主導的意識形態電影，最終反擊粗製濫造的電視肥皂影集與缺少真實故事架構的電影，各個新電影導演心中充滿反叛的基因，吸引許多當時的文藝青年和知識份子觀賞，電影的內容時常帶動一般大眾對社會議題的關懷，對生活的無奈反映導演創造的「現實」電影世界。

導演們跳脫傳統電影的框架，如吳念真、侯孝賢、蔡明亮等導演的電影使用各種歐洲新浪潮導演發展出的拍攝手法，如長鏡頭或是鏡頭平移或是手持鏡頭來建構觀眾體會故事的窗口，試圖模糊現實與電影的空間；拍攝手法外導演們也向表演藝術取經，在故事場景中使用了很多比喻與象徵的手法，試圖將觀眾的眼睛和心靈帶離實體的「現實」世界，而是表現角色心境與轉化的抽象「真實」世界。

本論文希望從台灣電影發展脈絡下尋找重要的新電影導演作品，以楊德昌導演三部重要作品《牿嶺街少年殺人事件》、《恐怖份子》、《一一》為代表，試圖從電影中尋找台灣生活型態與生活文化的改變，其中著重於導演如何藉由佈局住宅空間與拍攝手法表達時代的「現實」，而更深入從影像中擷取導演置入的比喻與象徵的符碼，如何被導演串連成一段段描述故事心境的「真實」影像，如同將導演視作影像的建築師一般對他的作品進行分析，從電影螢幕中獲得關於住宅生活空間與心境變化的脈絡。

本論文的最後藉由假設《一一》電影中的楊楊，也就是楊德昌自己內心最真誠的投射，如果生在21世紀的台灣會如何生活，從楊德昌電影影像中心境與時代擷取的符碼，以近乎電影的方式試圖發展一個從影像設計住宅的方法，試圖呼應楊德昌導演作品下的時代脈絡，同時藉由他表現電影空間的方式回應千禧年後中產階級的住宅空間該是如何，最終的住宅設計也向楊德昌的電影精神致敬

Abstract

SUMMARY

Taiwanese film directors who called themselves “Taiwan new cinema directors” have make a lot attempt to film new kind of movie that differ from political correct films in 1970’s . Edward Yang is the most representative directors in this time . In his film, we can experience the characteristic of Taiwanese living life style in 60’s to 90’s .”Reality” of the time is the main method to make the movie much closer to the real world .He also made use of many new filming technics , such as Long-Shots,Vertical-movement Shots ,and handheld-Shots, to create a new sort of spacial experience that let audience be able to feel the mental “truth” in the film. In my thesis , I will analysis the ”Truth” and”Reality” of Taiwanese residential space and living culture in Edward Yang’s films, than use the code that represent the spirit of his film to create a way to design a 21st century residential space for Taiwanese mid-class youngsters .

Keyword: Edward Yang , Reality , truth , film , code , mental , residential space design

INTRODUTION

The evolution of Taiwanese film has been through a long way .From Japanese colonial period to Asian tiger period , there are a lot of films can represent the culture and urban life style of a specific era .In particular, in the 1980s, a group of young people who claimed to be New Cinema directors began to conceive a way that were different from the political films of the past. Edward Yang was one of the most important leaders of the time .In this master’s thesis, I chose three of the most representative films of Edward Yang , including A Brighter Summer Day , Terrorizer ,and Yi Yi for my analysis and finding further possibility of architecture design.

MATERIALS AND METHODS

In the beginning of my thesis , I selected some captured clips in the three films trying to find the relationship between the residential space in the image and the movie script. From the relationship I found I try to establish a concept of the connections between the space and characteristics of roles. From the study above, I try to figure out the evolution of the residential space and how the director borrows the space character to express the life of the story. The end product is the “Reality” of the film ; In the second face of my analysis, I trying to map out a mental stage of those three films. I chose seven sections of those films which resemble a specific state of mind of the characters. From this analysis , I hope to construct a spacial relation between the stage set and characters. The result is the “Truth” of the film. In the last face of my analysis, I compared the change in space and state of mind of those three films and trying to find a plausible sequence of “Reality” and “Truth” in those films. Finally, I use the result of my analysis to design a residential pace that echoes the spirit of Edward Yang’s film.

RESULTS AND DISCUSSION

The final residential space design is a rooftop additional house that is widely seen in Taiwanese cities. The main role of the house is Yang-Yang who is the child from movie Yi Yi and officially consider as Edward Yang’s avatar in the film. I set the time in 2020 when Yang-Yang is 30 years old in order to create the imagination of future Taiwanese residential space. From the view of Yang-Yang , avatar of Edward Yang, I create a set of space that using the “Reality” and “Truth” I found in Edward Yang’s film. Finally, my design hope to pay tribute to Edward Yang’s film.

CONCLUSION

The main purpose of this thesis is to find the design possibility of residential space from Edward Yang’s film .From the result of my design I want to answer a big question of how youngster live and feel in 21st century when life is hard but colorful .In the result I found out that the method I use can be adopt to any image or any footage . Not only anyone who like Edward Yang’s film can use my method to design a space that tribute to Edward Yang , But also anyone who want to create a way to design space from any image can use my method as a starter.

參考電影

南進台灣
日本帝國台灣總督府 / 拍攝製作
台灣歷史博物館籌備處 / 修復

台北之晨
白景瑞 / 導演
白景瑞 / 編劇
同喜文化

光陰的故事
楊德昌/柯一正/陶德辰/張翼 / 導演
楊德昌/柯一正/陶德辰/張翼 / 編劇
台灣中影股份有限公司

戀戀風塵
侯孝賢 / 導演
吳念真/朱天文 / 編劇
台灣中影股份有限公司

風櫃來的人
侯孝賢 / 導演
朱天文 / 編劇
台灣中影股份有限公司

孩子的大玩偶
侯孝賢/萬仁/曾壯祥 / 導演
黃春明 /原著
吳念真/ 編劇
台灣中影股份有限公司

青梅竹馬
楊德昌 / 導演
侯孝賢/朱天文 / 編劇
台灣中影股份有限公司

獨立時代
楊德昌 / 導演
楊德昌 / 編劇
台灣中影股份有限公司

牿嶺街少年殺人事件
楊德昌 / 導演
閻鴻亞/楊順清/賴銘堂 / 編劇
台灣中影股份有限公司

恐怖份子
楊德昌 / 導演
小野 / 編劇
台灣中影股份有限公司

一一
楊德昌 / 導演
楊德昌 / 編劇
日商1+2 Seisaku Iinkai

參考文獻

英文書籍

Cinema 1 - The Movement-image
Gilles Deleuze / 著
Huge Tomlinson / 英譯
University of Minnesota Press

The Manhattan Transcripts
Bernard Tschumi / 著
St. Martin's Press

A Manifesto for a Cinematic Architecture
Pascal Schöning / 著
AA Bookshop

中文書籍

再見楊德昌
王昀燕 / 著
王小燕工作室

其他參考資料

楊德昌遺作《小朋友》
http://big5.china.com.cn/news/txt/2007-07/03/content_8470272.htm

《追風》
https://read01.com/A4xnRP.html