| 摘要: | 本論文文旨在探討科幻寫實電影的構成、人物角色特性設定、電影中引用的神話故事論述方式，以及押井守導演的手法與模式來進行考察。考察對象為1995『攻殼機動隊』以及2004的續篇『無罪』。內容包含前半先行研究部分、押井守與好萊塢科幻電影相互影響的關係，以神話學與神話的法則和榮格心理學當中的原型分析來分析其構成與角色設定。而第二部分內容包括押井守引用的哲學語以及神話中表現的言語與非言語記號分析，以此纏述其可能代表的意義以及導演想表達的事物。最後再由兩部作品來進行比較，來確立其兩部科幻作品的共通性質，其主要結果如下。以第一章的圖像採樣來說，押井守導演確實深受好萊塢電影、雷利・史考特導演的『銀翼殺手』之影響，而其主導的作品『攻殼機動隊』也間接影響了好萊塢電影『駭客任務』視覺表現方式以及哲學性思考。在這方面，押井守導演確實是有別於日本其他動畫大師的思維，甚至可以觀察到不同於其他人的特質以及標的性。而第二章與第三章的內容分別對『攻殼機動隊』與『無罪』以『神話的法則』來分析故事的階段性的發展順序以及卜羅普的民間故事型態學的角色分析方式以及榮格與『神話的法則』的角色設定來進行考察與比對，進而理解角色的互動方式及角色功能與定位，就分析的過程中，以採樣的兩部作品的哲學性質來說，押井守導演選擇了『神話的法則』的原型中的｢賢者｣來擔任引導主角、以及訴說整部作品的核心價值。除此之外賢者的型態並非古典的賢者形象，而融合了其他的原型特質，進而塑造出一種獨一無二的賢者形式。賢者並非單純的引導主角，甚至用了扭曲的方式及思考來訴說電影的核心價值，來達到給予觀眾不同與另類的思考方向。以結果來說，押井守導演的故事描述方式確實獨樹一格，且好萊塢的基本構成有密切的關係。不妨可以思考是否能破除本來該有的形式來達成新式的故事發展方向以及角色定位。畢竟隨著時代的演進，傳統的角色定位與故事流程將漸漸的無法滿足觀眾。而從近年來的好萊屋電影中可看出描述角色的缺陷來營造角色移入性。因此未來能根據多樣化的角色設定與神話世界觀來增加電影本身的境地，對未來的電影注入新的生命。
This paper aims to explore the composition of science fiction realistic film, character character set, the movie quoted the myth of the narrative way, as well as Oshii mamoru director approach and mode to be investigated. The first half of the study contains the first part, Oshii Mamoru and Hollywood science fiction film mutual influence relationship to mythology and mythology and Jungian psychology of the prototype analysis to analyze its composition and role setting. The second part includes the philosophical language quoted by Oshii and the analysis of verbal and non-verbal signs in the myth, so as to explain the meaning of the possible representations and the things the director wants to express. in the first chapter Oshii momoru director really by the Hollywood film, Rayleigh Scott''s director of the "Blade Runner" of the impact, and its leading work "Ghost in the Shell" also indirectly affected The Visual Expression of Hollywood Movie "MATRIX " and Philosophical Thinking. In this regard, Oshii momoru Director is really different from other Japanese animation masters of thinking, and even observed different from other people''s characteristics and the nature of the subject.
The second chapter and the third chapter, respectively, "Ghost in the Shell" and "innocence" to " Heroes Journey " to analyze the stage of the story of the order of development and the role of Propp folk tale analysis, and then understand the role of interaction and role of function and positioning of the analysis process, the sampling of the two works of the philosophical nature, Oshii mamoru director chose the " Mentor " in the archetypal "Mythological Law" to lead the protagonist, and to tell the core values of the whole work. values, to give viewers different and alternative thinking. |
