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    题名: 《等妳》劇本創作論述
    Writer’s Note on the Film Script Wait for Me
    作者: 陳惟茗
    贡献者: 王亞維
    陳惟茗
    关键词: 電影劇本
    女性主義
    老少戀
    Film Script
    Feminism
    Chronophilia
    日期: 2023
    上传时间: 2023-09-01 15:42:55 (UTC+8)
    摘要: 《等妳》為電影劇本創作，講述王雅安，一位資深創作歌手，邀請於比賽中獲獎的年輕男歌手林山加入她的音樂公司。雅安於照顧癌末病夫時，仍不自覺地對小她二十餘歲的林山產生了情感。當兩人感情逐漸升溫之刻，被怨懟雅安許久的公司劉副總設計，導致雅安不得不向狗仔支付大筆勒索費，原以為就此平息，然兩人戀情仍被公之於眾，繼女陳冰得知此事後亦憤而離家出走。被社會、家庭、戀情狹圍的中年女子雅安，似乎無法逃離更迭的磨難。

    本論文將分為五個章節，前三章記錄了《等妳》劇本的創作初衷、目的、主題研究、前期調查、理論分析以及最初之故事構思。第四章收錄完整的《等妳》對白劇本內容，第五章則整理了創作完成後的試讀反饋意見與學習反思。
    The story of "Wait for Me" revolves around Wang Ya`an, a seasoned middle age singer-songwriter, who invites Lin Shan, a young male singer who achieved second place in a singing competition, to join her music company. While taking care of her terminally ill husband, Ya`an unconsciously develops feelings for Lin Shan, who is more than twenty years younger than her. As their relationship blossoms, they become victims of a plot orchestrated by Liu, the vice president of the company, who has harbored resentment towards Ya`an for a long time. Ya`an is forced to pay a large sum of money to the paparazzi to keep their romance secret. However, their love affair is eventually exposed to the public, causing further turmoil. Additionally, Ya`an`s stepdaughter, Chen Bing, discovers the truth and angrily leaves home. Trapped amidst societal, familial, and romantic constraints, Ya`an seems unable to escape the relentless trials and tribulations.

    The thesis will be divided into five chapters. The first three chapters document the original intentions, purposes, thematic research, preliminary investigations, theoretical analyses, and initial story concepts of the "Wait for Me" screenplay. The fourth chapter contains the complete dialogue script of "Wait for Me," while the fifth chapter compiles feedback and reflections from the script`s post-reading sessions and learning experiences.
    參考文獻: 中英文書籍
    丘光譯（2010）。《帶小狗的女士：契訶夫小說新選新譯》，台北：櫻桃園文化。
    江先聲譯（2014）。《故事寫作大師班：好萊塢知名「劇本醫生」教你STEP BY STEP 寫出絕不跟別人撞梗、兼具情感厚度與立體結構的最強故事》。台北：漫遊者文化。（原書Truby, J. [2007]. The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. New York, US: Farrar Straus & Giroux.）
    周蔚譯 (2016)。《對白的解剖：跟好萊塢編劇教父學習角色說話的藝術，在已說、未說、不可說之間，強化故事的深度、角色的厚度、風格的魅力》，台北：漫遊者文化。（原書McKee, R. [2021]. Dialogue: The Art of Verbal Action for Page, Stage, and Screen. New York, US: Twelve.）
    汪冠岐、黃政淵譯（2022）。《人物的解剖：跟好萊塢編劇教父學習角色研究的技藝，挖掘人物的四個自我，深究人性的課題，建立渾然一體的人物角色宇宙》，台北：漫遊者文化。（原書McKee, R. [2021]. Character: The Art of Role and Cast Design for Page, Stage, and Screen. New York, US: Twelve.）
    易智言（1994）。《電影編劇新論》，台北：遠流。
    林雯玲譯（2021）。《玩偶之家》，台北：新銳文創。
    高惠群譯（2016）。《安娜．卡列尼娜》，台北：木馬文化。
    秦續容、馮勃翰譯（2015）。《先讓英雄救貓咪》，台北：雲夢千里文化創意事業有限公司。（原書Truby, J. [2007]. The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. New York, US: Farrar Straus & Giroux.）
    徐強譯（2013）。《故事與話語：小說和電影的敘事結構》，北京：中國人民大學出版社。（原書 Chatman, S. [1978]. Story and Discourse: Narrative Structure in Fiction and Film. New York, US: Cornell University Press.）
    張智淵譯（2018）。《失樂園》，台北：時報出版。
    曾西霸譯 （2014）。《實用電影編劇技巧》，台北：遠流出版社。（原書Field,S.[1979]. Screenplay: The Foundations of Screenwriting. New York, US: Dell Publishing.）
    黃政淵、戴洛棻、蕭少嵫譯（2014）。《故事的解剖：跟好萊塢編劇教父學習說故事的技藝，打造獨一無二的內容、結構與風格！》，台北：漫遊者文化。（原書McKee, R. [2010]. STORY: Substance, Structure, Style and the Principles of Screenwriting. New York, US: Harper Collins Publishers.）
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    蔡鵑如譯（2013）。《作家之路》，台北：商周。（原書Vogler, C. [2007]. The Writer’s Journey: Mythic Structure for Writers. Luban, Malaysia: Big Apple.）
    Beauvoir, S. (2009). The Second Sex. London: Jonathan Cape.
    Berger, John. (1972). Ways of Seeing. New York: Penguin Group inc.
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    Woolf, V. (2004). A Room of One’s Own. London: Penguin Books.
    英文期刊：
    Alarie, M. (2019). “They’re the Ones Chasing the Cougar”: Relationship Formation in the Context of Age-Hypogamous Intimate Relationships. Gender & Society, 33(3), 463–485.
    Burke, C. (1981). Irigaray through the Looking Glass. Feminist Studies, 7(2), 288–306.
    Creed, B. (1987). From Here to Modernity: Feminism and Postmodernism. Screen, 28(2), 47-68.
    Ketchum, S. A. (1980). Female Culture, Womanculture and Conceptual Change: Toward a Philosophy of Women’s Studies. Social Theory and Practice, 6(2), 151–162.
    Lodge, A. C., & Umberson, D. (2016). Sexual intimacy in mid- and late-life couples. American Psychological Association.115–134.
    Ryan, R. M., & Deci, E. L. (2000). Self-Determination Theory and the Facilitation of Intrinsic Motivation, Social Development, and Well-Being. American Psychologist, 55, 68–78.
    Sanchez, L., & Thomson, E. (1997). Becoming Mothers and Fathers: Parenthood, Gender, and the Division of Labor. Gender& Society, 11, 747-772.
    Sternberg, R. J., & Kaufman, J. C. (2010). Constraints on Creativity: Obvious and Not So Obvious. The Cambridge Handbook of Creativity, 467-482.
    碩博士論文
    周楚宜（2019）。《燥眠夜》政治大學傳播學院研究所碩士論文。
    陳昱昊（2019）。《獅頭魚》政治大學傳播學院研究所碩士論文。
    張慈珉（2020）。《台北女子失戀記事》政治大學傳播學院研究所碩士論文。
    描述: 碩士
    國立政治大學
    傳播學院傳播碩士學位學程
    108464039
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0108464039
    数据类型: thesis
    显示于类别:[傳播學院傳播碩士學位學程] 學位論文

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