圖像敘事之跨媒介改編與美感接收端詮釋之分析面向初探：理論視角之反思

Preliminary Analyses of Transmedia Adaptations of Pictorial Narratives and Aesthetic Pole Interpretations: Reflections on Theory

10.6120/JoEMLS.2015.524/0030.RS.BM

賴玉釵(Yu-Chai Lai)

互媒 ； 美感傳播 ； 跨媒介敘事 ； 圖像敘事 ； 繪本 ； Intermediality ； Aesthetic communication ； Transmedia narrative ； Pictorial narrative ； Picturebook

教育資料與圖書館學

52卷4期（2015 / 12 / 01）

451 - 504

繁體中文

跨媒介敘事為傳播研究關切旨趣，敘事者將同一作品素材轉述至相異媒介以達「跨媒介改編」。改編者需藉「互媒性」，讓改編作品與原作相互指涉。本研究整理跨媒介敘事、互媒性及美感傳播之文獻，提出理論芻議。以跨媒介改編之藝術創作端為例，涉及敘事者援引原作圖像、情節或畫風等「互媒性」重塑召喚式結構，並需依「互媒性」考量改編策略。「美感接收端」賞析繪本後再賞析動畫，或因「互媒性」而形成對改編版本之敘事期待、五感聯想。就跨媒介轉述交流歷程言之，「美感接收端」需「補白」或「否定」以持續觀賞改編作品。美感接收端賞析改編作品（再述繪本圖像、新增音樂等），需藉「否定性」以調整自身預期而跨媒介參與。

Transmedia narratives are a key topic of communication research. Transmedia adaptations occur when a narrator transposes an original work by using various media platforms. Considering pictorial turn, this study employed the intermediality of an animated work that was adapted from an award-winning picture book as an example to propose an analysis for theory building. After examining the literature on transmedia narratives, intermediality, and aesthetic communication, this study proposed analyses for the dimensions of transmedia adaptations of pictorial narratives and aesthetic pole interpretations. Focusing on the three layers of the artistic pole, aesthetic pole, and interactions and effects, this study cited the cases of award-winning picture books and adapted animated works as the basis for reflecting on aesthetic communication. The artistic pole of transmedia adaptation was used as an example of how a narrator employs intermediality by citing the pictures, plot, or art forms from an original work to reinvent structures and then adapts them according to intermediality. If the aesthetic pole views the adapted animated work after reading the picture book or forms an expectation of the adaptation because of intermediality, then when the audience watches the adapted animated work, their imagination could be stimulated by the intermediality (i.e., picture book graphics and scene depictions). For transmedia narrative interaction, the aesthetic pole must ＂fill blanks＂ or ＂negate＂ to continue to view the adaptation. For filling blanks, because of intermediality, the aesthetic pole must construct an ＂intracompositional intermediality＂ to connect with the visual and audio links of the same work or construct ＂extracompositional intermedialtiy＂ to associate the original work with the transmedia adaptation. For negation, when viewing the adaptation (i.e., presentation of picture book graphics, added music, or theme song), the aesthetic pole must gradually adjust his or her expectations to engage with the transmedia universes.

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