運用音畫圖探討美國當代歌舞類型電影敘事

Abstract

歌舞電影在好萊塢中一直是屹立不搖的類型電影，至今已有多部膾炙人口之 歌舞片以及歌曲。然而台灣國內至今歌舞片產出卻相當稀少，但舞台劇近幾年卻 愈來愈興盛，劇團也一個個成立，可見國內視聽觀眾人對於音樂與戲劇故事的美 學結合，仍保有一定的興趣與市場。因此本研究希望能透過整理當代美國歌舞電 影的音樂與影像的關係與敘事功能，以作為日後國內業界製作歌舞電影時參考。 本研究選取了 2000 年後三部當代具有代表性之歌舞電影，且依照其出現時 間為開場、中場、終場故事結構，分別選取了總共三首歌舞片段作為文本分析對 象，並以俄國電影大師艾森斯坦之垂直蒙太奇理論為基礎，建立包含樂譜、分鏡、 影像圖片、文字輔助等音畫圖研究工具。並針對故事結構與音樂結構探討。並研 究音畫蒙太奇呈現特色，應用於歌舞片段與前後敘事交界關聯、歌舞片段之敘事 功能之分析。 經研究發現，三首歌舞電影中的音畫蒙太奇多呈現音畫一致性，且音畫關係 呈現方式多種，包含音樂與畫面的節奏對齊、音樂起伏與畫面移動方向一致等。 歌舞片段與敘事的交界關係則有循序漸進與明顯分段兩種。本研究並歸納出歌舞 片段之敘事功能包含體現角色情緒、補足敘事、作為電影伏筆、增加氣氛等，可 見歌舞片段的音畫設計有刻意安排使得音樂與畫面能一致呈現，且歌舞片段於電 影故事結構中不僅是單純的表演秀，而是成可以為敘事並加強敘事意義。

Musical films have always been an unshakable genre in Hollywood, and lots of popular musical films and songs have been made. However, the production of musical films in Taiwan has been quite rare so far while stage dramas have become more and more prosperous in recent years. It shows that domestic audiences still retain a certain interest in the aesthetic in combination of music and stories. Therefore, this study intends to manifestacate the relationship of music and image, and the function of storytelling of music and image in contemporary American musical films for domestic movie industry which they could use it as a reference when making musical films. This research selects three musical films produced after 2000 for analysis. Within these three films, three musical sections appearred at the opening, interval or finale part of the narrative are chosen for detailed textual analysis. Based upon the Russian film director Eisenstein's vertical montage theory and audiovisual score, research tool includes sheet music, storyboards, video images, and textual description to explore the story structure and music structure. The purpose is to understand the characteristics and the application of audiovisual score to analyze the connection between the musical segment and the narrative, as well as the function of musical segments in narratives. Research results indicates that the music and image in three musical films present many consistency in audiovisual scores including the rhythm of musicand and the music fluctuation with the direction of the image movement and editing. It is also founded that there are two different ways to connect musical fragments with the other parts of narrative. The narrative fuction of musical fragments includes embodying the mood of the characters, filling a part of narrative, foreshadowing for the II story, and enhencing the atmosphere. The musical fragments are not just a show in movies but parts of narrative and even strengthen the meaning of films.