多畫面於電影史之影像傳播歷程研究：從早期電影至數位年代前

Tracing the Evolution of Multiple-Image in Film: Historical Perspectives from Early Cinema Prior to the Digital Age

本文為中西文獻中首篇以編年史探究電影多畫面形式之專論，旨在梳理其美學實踐脈絡並交叉分析傳播生態。首先歸納數位化前的演變歷程為六個階段：1901-1929年前無聲電影時期的開端、1930-1950年間有聲電影初期的沒落、1950年代策略性的回歸、1960年代非敘事電影的視覺實驗、1960末至1980年初類型性作品的商業拓展，以及1980-1990年末數位年代前因電視畫幅比限制而再次沒落。再依表現樣態分為單銀幕、合併式寬銀幕及分離式銀幕三類，探究視覺策略與傳播效果。研究發現其興衰歷程與體制政策、當代文化思維與產業運作等因素密切相關，顯示多畫面影像的傳播實踐是內部美學形式與外部環境交互作用的結果。

This study presents the first comprehensive examination of multiple-image in film. It offers a historical overview of aesthetic practices of multiple-image and investigates the influence of external environmental factors. The evolution process before digitalization can be summarized into six stages: (1) Emergence during the silent film period (1901-1929); (2) Decline in the early sound film years (1930-1950); (3) Strategic revival in the 1950s; (4) Visual experimentation of non-narrative films in the 1960s; (5) Commercial expansion from the late 1960s to early 1980s, in which filmmakers applied multiple-image to some film types; (6) Decline prior to the digital age (1980s-late 1990s), constrained by television aspect ratios. Furthermore, the research categorizes multiple-image into three primary types: single-screen, combined widescreen, and separated-screen. It also analyzes the differences in performance characteristics, visual construction strategies, and communication effects of each type. Finally, the study reveals that the trends of multiple-image were shaped by factors such as institutional policies, growing cultural awareness, and economic concerns in industrial operations. This shows that the communication practice of multiple-image is not solely driven by internal aesthetic forms, but is the result of co-production with the external environment.