巴贊、湯普森、鮑德威爾與德勒茲的作品分析技術：以《大國民》為例

Artwork Analysis Techniques of Bazin, Thompson, Baldwell and Deleuze: Taking “Citizen Kane” as an Example

本研究主要探討四位電影理論者，分別為安德烈‧巴贊、克莉絲汀‧湯普森、大衛‧鮑德威爾，以及吉爾‧德勒茲，各自運用不同的研究方法，探討威爾斯的電影《大國民》。本研究分為三部分。第一部分，巴贊的研究擺脫傳統的科技決定論的電影史方法，而是建立「電影語言的演進」。威爾斯是創造「革命性的電影語言」的重要功臣，他的電影語言的特色是「廣角拍攝技巧」、「景深構圖」，用「長鏡頭」取代「正反拍」。第二部分，探討湯普森與鮑德威爾的「敘事元素之結構分析」，以「分段」分析，來解構《大國民》複雜的敘述結構。第三部分，探討德勒茲的方法論有互文性的特色。德勒茲將《大國民》的倒敘，類比柏格森的倒立錐體公式。並創造出「回憶-影像」的術語。論景深：電影的巴洛克革命是在探討德勒茲將威爾斯電影的「景深影像」跨領域連結巴洛克藝術。

This study mainly discusses four film theorists, named André Bazin (1918-1958), Kristin Thompson (1950-), David Bordwell (1947-), and Gilles Deleuze (1925-1995), each used a different method to study Orson Welles’s film “Citizen Kane”(1941). The study is divided into three parts. In the first part, Bazin’s research breaks away from the traditional film history method of technological determinism, but establishes “the evolution of the language of cinema.” Welles is an important contributor to the creation of "revolutionary language of cinema”. His language of cinema features “the technique of wide angles” and “construction in depth”, replacing “shot reverse shot” with “long take.” Second, Thompson and Bordwell’s “analysis of the structure of narrative elements.” They used a “segmentation” analysis to deconstruct the complex narrative structure of “Citizen Kane.” Third, discussing Deleuze’s methodology has the characteristic of “intertextuality”. Deleuze takes a flashback to “Citizen Kane”, analogous to Bergson’s inverted the model of the inverse cone. And invented the jargon “recollection-image”. “on depth of field: the Baroque revolution in film” is about discussing that Deleuze connects the "depth of field image" of Welles film to Baroque art.