| 摘要: | 尚–皮耶‧居內是法國當代著名的導演之一。他的電影風格多變，時而荒謬詭譎，時而甜美可愛。他能將故事說得深刻動人又帶點幽默感，精緻且具有質感的影像風格更讓他獲得法國凱薩獎等多項大獎以及美國奧斯卡獎的提名肯定，並且在票房方面保有亮眼的成績。他的電影《艾蜜莉的異想世界》，不但在法國本土造成風潮，甚至席捲全球各國影展，風靡了不少觀眾，讓居內一時聲名大噪，也確立了他在法國影壇的主流地位。之後《未婚妻的漫長等待》一片更是跨國大成本製作，展現其旺盛的創作力與強烈企圖心。
居內起初是與法國另一位導演：馬克‧卡侯搭檔，兩人合作過多部短片以及兩部劇情長片。這當中由居內負責指導演員與場面調度，卡侯則是場景設計與美術總監。因兩人共同的興趣是動漫畫、寓言故事與奇幻題材，因此作品的風格特徵往往具有華麗視覺效果與流暢動作感，搭配上快速剪接畫面與聲音節奏的巧妙搭配，創作出多部出色的電影並屢獲佳績，居內更隨即受邀至好萊塢拍攝影片。回到法國後，居內獨自執導的電影轉向溫馨感人的小品劇情片，但仍充滿天馬行空的想像敘述與富有魅力的影像色彩，在人物塑造方面更是活靈活現又充滿詼諧幽默。
本論文分為三個章節，第一章從電影敘事學的理論發展緣由與過程談起，第二章主要討論居內的生平、創作以及特色風格，最後一章以取自文學作品：《未婚妻的漫長等待》所改編的電影為例，運用電影敘事學的研究方法，來探討其作品中的故事結構、情節鋪陳與人物形象塑造方式，以及它們各自功能性與相互之間的關係。再運用影像分析技巧來找出居內所獨具的美學特徵與故事敘述技巧。
Jean – Pierre Jeunet is a famous contemporary French director known for his popular and strange films, sometimes bizarre, sometimes sweet. He is good at telling a touching story with a good sense of humor. His movie was critical and box office success, and won several awards at major international film festivals, including the Best Film award at the French César Awards and Oscar nominations.
In 1974, Jeunet got acquainted with his work partner Marc Caro. They have same interest: comic book, animation and movie. Then, they started to work together to shoot their own movie, made several short movies and two feature movies. Jeunet and Caro divided responsibilities with the former guiding the actors and the latter coordinating the artistic elements. Success of those movies brought them widespread international attention, thus Jeunet got an invitation to direct movie in Hollywood. After that, Jeunet came back to France in order to make his personal movie. He changed the tone, narrative style from his earlier films and used many romantic comedy elements. It also used so much imagination and visual effects that brought audiences into the world of whimsy. This movie made the biggest worldwide success of French cinema history, and surprised Jeunet took an adaptation of the novel written by Sébastien Japrisot, Un long dimanche de fiançailles.
This thesis divides into tree chapters: Chapter one is “Cinema narrative theory”, to explain those ideas of Propp, Gréimas, Genette and Metz. Chapter two “Career and filmography of Jeunet” is introduce of Jeunet’s films. In Chapter three “A study of the film: Un long dimanche de fiançailles”, we discussed the structure and characters of this movie to find narrative style and magic of Jeunet. |
