360虛擬實境影片敘事分析

Narrative Analysis of 360 Virtual Reality Films

本研究從創作者觀點出發，從高雄市電影館的VR FILM LAB內容開發計畫中，挑選三部國際知名得獎作品：徐漢強導演《全能元神宮改造王》、陳芯宜導演《留給未來的殘影》以及許智彥導演《舊家》，探討360度虛擬實境短片在空間、敘事、攝影、場面調度、聲音上的運用，期待經由技術的拆解分析，有助於在創作上的推陳出新，進而提供觀眾更為迷人豐富的體驗。本研究試圖為此一藝術形式在創作實務及理論的發展提供最初的基石，對於未來投身於VR360的創作者而言，藉由傳統影片拍攝語言的映照與對比有助於對於科技的了解與想像，並且以創作者觀點發掘沈浸式體驗的美學想像。本研究採質性分析：參考國內外研究期刊、文獻關於360度虛擬實境短片敘事及藝術形式的分析，研讀個案相關報導資料，最後進行上述研究個案深入訪談，以取得第一手資料。研究發現360度虛擬實境短片在空間及敘事上是藉由空間的轉換達到電影裡面剪接或是換景的效果，是一種敘事語言的轉化。由於觀眾在觀賞VR時較其他媒材擁有更多主導能力，因此創作者在傳遞敘事完整性與觀眾主導性之間產生拉扯並帶來挑戰，VR360的概念涉及以觀眾為核心的參與，不同於傳統敘事電影觀看大多是被動的，VR的觀眾多為主動的，作為見證者或是參與者，參與正在展開的敘事，創作者透過引導觀眾注意力的方式完成敘事。

"From the perspective of creators, this study selected three renowned award-winning directors from VR FILM LAB project of the Kaohsiung Film Archive: Director John Hsu''Your Spiritual Temple Sucks'', Director Singing Chen '' After Image for Tomorrow'' and''Home'', directed by Kidding Hsu, discuss the use of 360-degree virtual reality in space, narration, photography, Mise-en-Scene, and sound. It is expected that the dismantling and analysis of technology will help the innovation of creation , and then providing the audience with a more fascinating and rich experience.This research attempts to provide an initial cornerstone for the development of creative practice and theory for VR360. For creators who might devote themselves to VR360 in the future, the reflection and comparison of traditional filming will help them understand the technology. Imagine and explore the aesthetic picture of immersive experience from the creator’s point of view. This research method use qualitative research. Refer to the analysis of VR360 narrative and art form in domestic and foreign research journals and documents, study the relevant report materials of the case, and conduct in-depth interviews of the above research cases to obtain first-hand information.Research has found that the VR360 achieves the effect of editing or changing scenes through the transformation of space and narration, which is a transformation of narrative language. Since the audience has more dominance than other media when watching VR, creators have a pull and challenge between conveying narrative integrity and audience dominance. The concept of VR360 involves audience-centric participation, which is different from traditional narrative film viewing is mostly passive. VR audiences are mostly active. As witnesses or participants, they involve in the ongoing narrative, and the creator completes the narrative by guiding the audience’s attention."