本論文是通過對日本、台灣漫畫畫面表現構成的分析，並找出兩地漫畫之共通點以及特徵。進而思考台灣漫畫產業未來之方向，以及讓有志於漫畫家之人了解台灣漫畫之定位與優勢。並重新愛上漫畫這門產業。 第一章主要介紹日本與台灣自1970年到2000年之漫畫史。通過了解兩地歷史，進而發現台灣社會與日本社會對於漫畫產業的評價以及價值性之差異。在章節中段，通過介紹日本與台灣漫畫產業之現況，讓讀者對於目前兩地漫畫產業的社會定位以及發展方向有基本的認知。並在章節後半，介紹關於漫畫構成的基本技巧及其重要性與功能。 第二章為日本漫畫表現構成分析，在本章節中，透過網點的使用方式、分鏡的風格、漫畫節奏的掌握、畫面資訊量、對話框的變化等技巧的分析，來歸納出日本漫畫之風格與特徵。並在章節後半通過數據比對確認其畫面表現構成之共通點。 第三章為台灣漫畫表現構成分析，在本章節中，通過與第二章同樣之分析方式，歸納出台灣漫畫之風格與特徵。並在章節後半通過數據以及畫面構成之比對確認台灣漫畫畫面構成與日本漫畫畫面構成之共通點與差異性。 結論為筆者經過前兩章的數據以及畫面構成比對，得知台灣漫畫與日本漫畫之畫面構成水準方面雖相差不大，但台灣漫畫除了畫面表現構成之外還是有許多不足以及可以再提升的空間。並在最後對於台灣漫畫產業之發展方向作出簡單的歸納。希望本論文能夠幫助有志於漫畫家之讀者與有興趣了解兩地漫畫產業基本知識之人。 This study analyzes the construction of expressive techniques in Taiwanese and Japanese Modern Comics to explore their similarity and characteristics. Furthermore, to allow the readers to reflect on the future and development of Taiwanese comic industry, and to encourage comic artists to understand the social recognition and the advantage of Taiwanese comics leading to the reevaluation of Taiwanese comic industry as a whole. The first chapter mainly deals with the history of modern comics from Taiwan and Japan between 1970s to 2000s and through the understanding of their respective histories, the differences on the social recognition and the perceived value of modern comics between the two countries are shown to the readers. Next, through the summarization on the current state of Japanese and Taiwanese comic industry, the readers are given a basic understanding of the societal approval and future prospect of the comic industry. Lastly, the chapter examines the importance and effects of construction and techniques used in comics. The second chapter is an analysis of Japanese comic expressive techniques such as the use of screentone, the style of the storyboard, the control of pacing, information density and the manipulation of dialogue boxes in order to categorize and statisticize Japanese comic’s style and characteristic. The later half of the chapter uses this data to find the similarity and differences between it and Taiwanese construction of expressive techniques. The third chapter is an analysis of Taiwanese comic expressive techniques using similar methods as the ones used in chapter two in order to categorize and statisticize Taiwanese comic’s style and characteristic. The later half of the chapter uses this data to find the similarity and differences between it and Japanese construction of expressive techniques. Through the analysis of the statistics and comparison of the construction of expressive techniques in chapter two and three, very small difference in quality can be discerned between the expressive techniques of Taiwanese and Japanese comics. However, Taiwanese comics still have much rooms for improvement outside the use of these techniques. Finally, this study summarises the possible directions for future developments for the Taiwanese comic industry in order to achieve positive growth.
