多元故事與複格──《迷走青春》的前衛實踐

《迷走青春》(The Tracey Fragments) 是加拿大導演布魯斯﹒麥克唐納(Bruce McDonald) 於2007年改編小說家Maureen Medved的同名小說而產生的電影，這部電影以實驗性的手法將數位技術加以開發應用，成為新敘事形式以及新風格的先鋒之一。本文欲探究布魯斯﹒麥克唐納的特殊的貢獻，特別是如何將電腦概念與數位技術運用至多元故事形式，以及複格形式如何將影像空間擴張等實踐成果，並帶來觀眾觀看習慣的改變與理解上的何種挑戰。文中介紹新媒體研究學者JanetH. Murry、Lev Manovich以及電影研究學者大衛﹒鮑德威爾(David Bordwell) 等對於電影敘事發展的觀察，探討新媒體時代電腦概念與數位技術創造出新電影語言的趨勢，也從形式與風格的角度對本片進行分析，為敘事形式與數位技術彼此交互的影響進行探討。

The Tracey Fragments is a 2007 drama film directed by Canadian Bruce McDonald and written by Maureen Medved, based on her novel of the same name. Bruce McDonald is enthusiastically in the vanguard of experimenting with new technology and bringing cinema new narrative ways and forms. The film was low budget, shooting within two weeks, and then spent nine months to finish the postproduction. However, financial difficulties did not affect the endeavor of the film, which using new technology in creative ways and showing the efforts of developing new forms. It has become one of the important milestones in the digital experimental field. This essay addresses Bruce McDonald's unique achievement of his film, and introduces many scholars, like Janet H. Murry 、Lev Manovich and film theory scholar David Birdwell 's observation of film narrative development, showing the tendency of new cinema language affected by new technology. Through these discussions, we can understand the multiform stories and multiple-frames of The Tracey Fragments are in the importance of new media cinema evolution.