中文摘要

本研究爬梳電影多畫面影像的百年歷程，參酌電影史中形式與風格的演變，併同多畫面作品年表，將此影像形式的發展階段畫分為：1930年前無聲電影時期的開端、1950年代策略性的發展、1960年代的反思與創新、1968-1980年新好萊塢時期的盛行、1980年代的沒落、1990年代晚期至今延續慣例的數位回歸等六個階段，以利探究其繼起之關係，以及該形式如何與當時的產業文化背景、技術條件等環境因素相互影響，並在興衰脈絡中繼而敘及相關作品的表現策略，以展現此影像形式的風格連貫性與變遷。

        從多畫面影像的作品中可歸結其敘述策略包含：視覺構圖中顯性的鏡頭運動方向搭配及隱性的眼神方向以達到動態平衡、降低每個畫面的訊息量並利用景深與鏡位強調敘述重點、依敘事目的變化畫面分隔線、模糊與暗黑影格搭配主視覺畫面等，而多視點的聽覺視角也能引導觀眾視線並過濾與主要敘事無關的敘事雜訊。

        為了達到多畫面形式在複義敘事性上的最佳效果，需在敘事結構上建立主畫面和次畫面的相對關係，以及建構深度性敘事之必要，才能擴展及增強多畫面影像作品與觀眾間的深刻與持續參與度。期本研究能鑑往知來，除為多畫面影像形式在學術研究上奠基，亦提供未來多元型態的影像產業在創作與美學策略上的參考。

Abstract

  This research examines the history of multi-image in film for more than one hundred-year, segment this stretch of time with considering the formal and stylistic trends in film history, and with the chronology of multi-image works into: the rise era in the silent cinema before 1930, the strategic development in the 1950s, the innovative trends in the 1960s, the prevalence of the New Hollywood from 1968 to 1980, the fall in the 1980s, and the return in digital cinema of modifying the classical style from the late 1990s to present, in order to facilitate the relationship among them , and how this form interacts with environmental factors such as the industrial cultural background and technical conditions at that time, and then narrates the expression strategies of related works in the context of rise and fall, so as to show the continuity and change of the style of this form.

    The narrative strategies of multi-image film works can be concluded: the combination of dominant camera movement with implicit eye direction in visual composition to achieve dynamic balance, reducing the amount of information in each frame, and using depth of field and camera position to emphasize narrative emphasis, adjusting the dividing lines of multi-image according to the narrative purpose, blurring some frames to highlight the main image, etc., and the multi-viewpoint auditory perspective can also guide the audience's sight and filter narrative noise that is not related to the main narrative.

    In order to achieve the best effect of the multi-image in complex narrative, it is necessary to establish the relative relationship between the main image and the sub-image in the narrative structure, as well as the necessity of constructing a deep narrative, in order to expand and strengthen the deep and sustained engagement with the audience. This study can learn from the past and learn from the future. In addition to laying the foundation for academic research on multi-image forms, it also provides a reference for the creative and aesthetic strategies of the multi-type video industries in the future.

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