以辨識係數評估美式動畫電影中的怪獸形態

An Estimation on Recognition Coefficient of Monster Pattern in American Animated Films

林大偉(Ta-Wei Lin)

形態分析 ； 怪獸形態 ； 辨識係數 ； Monster pattern ； Morphological analysis ； Recognition coefficient

藝術學報

97期（2015 / 10 / 01）

135 - 160

繁體中文

本研究以8本美式動畫電影設定集為基礎，共擷取316個怪獸角色設計原稿，視為自變數，並雇用40位年齡介於20~22歲的大學生為受測者，並依據所學分成「視覺專業」組和「非視覺專業」組，進行怪獸形態辨識之認知實驗。40位受測者均以指導語告知：「請儘可能地以直覺判斷螢幕中所呈現的角色形態是否為怪獸（或monster）？」每一個角色形態的辨識結果和反應時間，分別被視為2項依變數，並換算成「辨識係數」。結果顯示：（1）二群組受測者之間存在顯著認知差異，但有顯著高度相關；（2）「增數」和「易位」是相對容易被認同的怪獸形態創造手段；（3）「比例」分別地在「特徵成份」和「整體組態」面向加強怪獸形態創造手段之效果，因此「比例」適合被視為一項潛力變數而繼續深究。

This study is based on 8 American animated film concept-arts books. 316 character designs of monsters are taken as the independent variable. Then the ＂monster recognition test＂ was performed on ＂visual profession＂ group and ＂other profession＂ group consisted of 40 university students between 20 to 22 years of age. All 40 subjects were asked to ＂Please instantly determine whether or not the character projected on the screen is a monster.＂ The identification result and reaction time are regarded as separate dependent variables, and were converted into the ＂recognition coefficient.＂ The results show:（1） There are significant differences between two groups of subjects, but also with significant high correlation;（2） ＂Increase＂ and ＂offset＂ are relatively easy to be recognized to create monster patterns;（3） ＂Proportion＂ enhances the effects of creation for monster pattern in two approaches of ＂feature/component＂ and ＂global configuration＂ respectively, therefore is suitable to be consider as potential variable for the follow-up study.。

1. Bennett, T.(2013).The Art of Epic.London:Titan Books.
2. Biederman, I.(1987).Recognition-by components: A theory of human image understanding.Psychological Review,94(2),115-147.
3. Box Office Mojo（2015）, “All Time Box Office - Worldwide Grosses”, Box Office Mojo, 2015.8.1 downloaded: http://www.boxofficemojo.com/alltime/world/
4. Catmull, E.(2008).How Pixar Fosters Collective Creativity.Harvard Business Review,86(9),64-72.
5. Catmull, E.,Wallace, A.(2014).Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration.New York:Random House.
6. Cohen, D. S.(2011).The Ballad of Rango: The Art & Making of an Outlaw Film.San Rafael:Insight Editions.
7. de Lacouperie, T.(2015).Early history of the Chinese civilisation - Scholar's Choice Edition.London:Scholar's Choice.
8. Diamond, R.,Carey, S.(1986).Why faces are and are not special: An effect of expertise.Journal of Experimental Psychology: General,115(2),107-117.
9. Digest Writers Digest(ed.)(2000).The Writer's Complete Fantasy Reference.Cincinnati, OH:Writers Digest.
10. Eysenck, M. W.,Keane, M. T.(2000).Cognitive Psychology: A Student's Handbook.New York:Psychology Press.
11. Hewlett, J.（2008）, Monkey: Journey to the West, London: BBC.
12. Hueso, N.(2013).The Art of the Croods.London:Titan Books.
13. Johnston, O.,Thomas, F.(1995).The Illusion of Life: Disney Animation.New York:Hyperion.
14. Kimchi, R.(1992).Primacy of wholistic processing and global/local paradigm: A critical review.Psychological Bulletin,112(1),24-38.
15. Lasster, J.(2001).The Art of Monsters Inc..San Francisco:Chronicle Books.
16. Miller-Zarneke, T(2013).The Art of Cloudy with a Chance of Meatballs.Houston:Cameron + Company.
17. Miller-Zarneke, T.(2012).The Art and Making of Hotel Transylvania.London:Titan Books.
18. Miller-Zarneke, T.,Cowell, C.(2010).The Art of DreamWorks How to Train Your Dragon.New York:Newmarket_Press.
19. Murgatroyd, P.(2007).Mythical Monsters in Classical Literature.London:Bristol Classical Press.
20. Navon, D.(1977).Forest before trees: The precedence of global features in visual perception.Cognitive Psychology,9(3),353-383.
21. Paik, K.(2013).The Art of Monsters University.San Francisco:Chronicle Books.
22. Rosen, B.(2010).The Mythical Creatures Bible: The Definitive Guide to Legendary Beings from Mythology and Folklore.London:Godsfield Press.
23. Scanlon, D.（2013）, Monsters University, Emeryville: Pixar Animation Studios.
24. 手塚治虫，（1967），悟空の大冒険，東京：虫プロダクション。
25. 王童，（2005），紅孩兒：決戰火焰山，新北市：宏廣。
26. 永井豪，（1972），デビルマン，東京：東映動画。
27. 田曉鵬，（2015），西遊記之大聖歸來，中國：十月文化、橫店影視、高路動畫、光線傳媒。
28. 何觀洲（1930）。山海經在科學上之批判反作者之時代考，燕京學報，第7 期，頁1347-1375
29. 尾田榮一郎，（1997），One Piece，東京：Production I.G。
30. 洪儷庭、郭挹芬(2004)。仿生人物在漫畫的視覺表現類型與分析。商業設計學報，8，283-292。
31. 莊伯和(1986)。怪獸圖譜。雄獅美術，186，51-75。
32. 鳥山明，（1984），ドラゴンボール，東京：東映動画。
33. 萬籟鳴，（1961），大鬧天宮，上海：上海美術電影製片廠。
34. 歐瑞福(2011)。碩士論文(碩士論文)。新北市，輔仁大學應用美術系。

1. 鄧宗聖(2016)。創作中學習：臺灣視覺媒體創作碩士之個案研究。藝術學報，98，199-231。