臺灣博碩士論文加值系統

本論文主要是在探討保羅．哈吉斯的電影《衝擊效應》，由於這部電影提供了同時性的概念，讓研究者用批判性的觀點去解讀。這部電影的故事是以數位不同的主角的故事線交織在一起，描述他們在三十六小時內，於洛杉磯中所發生的事。而每一個事件的交織，也是在這意味著每個人的人生歷程充滿都會有各種事件的發生。本文將應用幾位理論家對於時間和空間的批判分析去解讀這部電影－《衝擊效應》。研究者認為，《衝擊效應》的特點，體現了同時性是存在於現實環境的概念裡。換句話說，在電影中發生的事件有可能在我們的現實生活中出現，這使得同時性的概念並不只是理論，但也是一種看似虛擬視覺但卻真實的。因此，同時性的觀念是結合了觀眾曾經所經歷的現實時間和空間感。所謂同時性的「重新想像」，可以通過人們的想像力去建立另一個新的社會。
因此本論文主要論點是電影（比如蒙太奇）如何帶領觀眾通過觀看電影去瞭解同時性概念。例如，第一個鏡頭拍的是一個坐著的女人。第二個鏡頭揭示一個咖啡杯。觀眾可能就會被誤導，認為女人是在咖啡館。電影製作的技術就最關鍵的，因為它體現了一部電影的敘述方式，尤其是一連串的事件和結構都與因果關係有關聯。根據電影製作的技術，《衝擊效應》採用了平行蒙太奇的方式去講述的故事。也就是說，衝擊效應的故事敘述是非線性的;導演用三個維度來呈現這部電影。研究者相信，歷屆的批判家，對這部電影提供了不同的批判方式來觀看電影，就如這部衝擊效應電影一樣。

This thesis is a critical reading of Paul Haggis’s film Crash because it provides a concept of simultaneity. Several characters' stories in this film interweave during two days in Los Angeles, and every incident interweaves with each other, meaning that there is a life course full of incidents. This paper will apply several theorists’ critical analyses of time and space to the reading of Crash. The author argues that the feature of Crash exemplifies the concept of simultaneity existing in reality circumstance. That is to say, the events that happen in the film could exist in our reality, which makes the concept of simultaneity not just a theory, but also virtual visual. Thus, the sense of simultaneity is composed of an audience who experience the presence of both time and space. The sense of imagination can build the sense of simultaneity through him/her to the “re-imagination” of the society with simultaneity.
The main argument of this thesis is how the film (such as its montage) leads the audience to understand the sense of simultaneity through the film. For example, a first shot might show a woman sitting. The second shot might reveal a coffee cup. The audience is led to believe that the woman is at the coffee shop. The technique in filmmaking is crucial to embody the narratives of film which are composed of a string of events and structured based on cause and effect. According to the technique of filmmaking, Crash adopts parallel montages to narrate the story. Namely, the sequence of Crash is non-linear; the director uses three dimensions to present Crash. The author believes that the film provides a different and critical approach to watching films like Crash.

TABLE OF CONTENTS
摘要 I
ABSTRACT III
INTRODUCTION 1
CHAPTER 2 SIMULTANEITY 10
2.1 The Definition of Simultaneity 10
2.2 The Simultaneity in Narrative 11
2.3 The Pattern of Simultaneity Narrative 12
2.4 The Re-imagination of Story 14
2.5 The Coincident of Crash 20
CHAPTR 3 MONTAGE 26
3.1 The Meaning of Montage 27
3.2 The Character Chart of Crash 29
3.3 The Definition of Narrative 31
3.4 Narrative of Crash 32
3.5 Linear of Crash 36
3.6 Non-linear of Crash 38
3.7 The Symbolism of Crash 40
3.8The Juxtaposition of Crash 43
3.9 The Psychology of the Audience 47
FINDINGS 50
4.1 The Feature of Messianic Time 53
WORKS CITED 58
APPENDIX 64


LIST OF FIGURES
Figure 1 The feature of Simultaneity 11
Figure 2 The Idea of Simultaneity 12
Figure 3 A Time-chat of Plot 17
Figure 4 Shows a Meaningful Coincidence Scene from Crash 20
Figure 5 An Events at Different Angles to Manifest Crash 23
Figure 6 2001: A Space Odyssey 26
Figure 7 The Full Character Lists in the Appendix 29
Figure 8 A Causality of Narration Scene from Crash 32
Figure 9 The Linear Shot from Crash 36
Figure 10 The Non-linear Shoot from Crash 38
Figure 11 The Rhythmic Scene from Crash 40
Figure 12 The Juxtaposition Scene from Crash 44
Figure 13 The Event from Crash 47
Figure 14 The Idea of Messianic Time from Agamben 53

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中文文獻
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