體驗區
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| 篇名 |
日本版的《愛麗絲夢遊仙境》- 析論宮崎駿動畫《神隱少女》的視覺創作意涵
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| 並列篇名 |
Japanese version of “Alice in Wonderland”—
Analyzing the visually creative significance from Miyazaki Hayao
animation “Spirited Away”
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| 作者 |
盧詩韻(Shih-Yun Lu)
、盧詩青(Shih-Ching Lu)
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| 中文摘要 |
本論文闡述《神隱少女》的視覺元素意涵（包括鬼魅、油屋造形及女孩形象）和視
覺創作敘事結構。 《神隱少女》影片中視覺符號的斷裂和跳躍，戲劇的昇華，擬象的對
比成功的營造出神鬼、油屋、千尋的造型。也帶領觀眾深思大量物質慾望帶來的無形殘
害，錢財罪惡的淵藪，那一幕駭人驚悚的由人變豬畫面早已烙入人心，成為深刻的警世
寓言！《神隱少女》在美國獲得奧斯卡金像獎最佳長篇動畫，在歐洲更一舉奪下柏林影
展金熊獎，這是史上首次有動畫片獲此殊榮。這齣日本版的《愛麗絲夢遊仙境》 ，透過
虛擬的人物場景，在如夢似幻的神祇國度建構出一齣東方神秘色彩的幻想故事。兼顧藝
術及商業性， 《神隱少女》在視覺創作締造諸多優點，充分發揮教育和批判反思意味。
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| 英文摘要 |
Splintering and jumping around, dramatic sublimation and simulacrum contrast from the
visualized symbols within the film of “Spirited Away” successfully create and sharpen the
modeling for gods and devils, oil house and Chian Shuen which also led the audiences into
rumination the invisible damages brought by massive material lusts, the origin of monetary
riches and sins. The frightening scene that human transformed into the pig left an indelible
image in the minds of many which had already become an intensive and profound cautionary
fable.
In this Japanese version of “Alice in Wonderland”, it managed to create and construct an
imaginary story with oriental mystics in the dreaming and god’s domain which balanced
between artistic taste and commerciality. Therefore “Spirited Away” consummated with
plenty of advantages in the domain of visual creation, and amply displayed the significances
in the perspective of education as well as rebellious reflection.
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| 頁次 |
083-096
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| 關鍵詞 |
宮崎駿
、神隱少女
、視覺
、動畫
、Miyazaki Hayao
、Spirited Away
、visual
、animation
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| 卷期 |
5:2
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| 日期 |
201210
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| 刊名 |
藝術研究學報
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| 出版單位 |
國立臺南大學
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