簡易檢索 / 詳目顯示

研究生: 黃韋傑
Huang, Wei-Jie
論文名稱: 預告片之構成要素研究-以「金預告片獎」最佳預告片為例
A Study on the Components of Trailers: The Case Study of the Best of Show of the Golden Trailer Award
指導教授: 劉立行
學位類別: 碩士
Master
系所名稱: 圖文傳播學系
Department of Graphic Arts and Communications
論文出版年: 2019
畢業學年度: 108
語文別: 中文
論文頁數: 127
中文關鍵詞: 預告片預告片構成要素金預告片獎最佳預告片
英文關鍵詞: Trailer, Components of Trailer, Gold trailer award, Best of show
DOI URL: http://doi.org/10.6345/NTNU201901166
論文種類: 學術論文
相關次數: 點閱:295下載:0
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 預告片做為電影的廣告宣傳片,承擔著能否將電影推廣出去的重要責任。而電影公司除了期望預告片盡到推銷責任外,能否獲得金預告片獎之最佳預告片也成了期望之一。文獻顯示,預告片構成要素能夠影響票房甚至能促使得獎。但如何運用則尚無定論。得獎與吸引受眾能否兼顧也無法確知。另一方面,預告片內容通常饒富巧思且蘊含精彩片段,可是受眾卻可能無法接收到預告片剪輯師隱藏在預告片中的巧思,甚至可能因為受眾不接受該預告片類型而使心血付之一炬。因此本研究旨在進行預告片的構成要素之相關研究。並探討預告片如何運用構成要素,達到吸引受眾並獲最佳預告片之雙贏局面。
    本研究以歷年「金預告片獎」最佳預告片為研究對象。透過以影視美學與視覺心理學為基礎進行文本分析法,審視最佳預告片之構成要素有無共通處。並透過深度訪談法訪問當前業界之剪輯師,訪談有關構成要素之觀點。並進一步探討剪輯師對受眾之巧思程度的看法。最後綜合統整文本分析法與深度訪談法之結果,探討預告片如何運用構成要素將能達到雙贏局面。如何使受眾更明白預告片巧思。
    研究結果發現:一、構成要素能影響預告片獲最佳預告片之機會,尤以劇情內容、字幕、音樂、剪輯影響最大;二、構成要素間的編排能夠加強受眾觀影動機,增加預告片之呈現效果;三、隨著資訊爆炸以及網路普及之影響,旁白要素已逐漸不被採用;四、預告片巧思之安排應聚焦於當前受眾的喜好,以避免受眾無法接收巧思之情況。

    As the advertisement of a movie, trailers have an important role in the effect of promotion. Film company would not only expect the fulfillment of the promotion but also looking forward to be one of the optimal trailers in the Gold Trailer Award. According to the existing literature, the components of trailers can affect the box office or even motivate the possibility of receiving awards. However, the realistic utilization ways has not been conclusive. The possibility to receive award also attract audiences at the same time is also an unsure issue. On the other hand, although trailers would usually contain the artful thoughts and highlights, it is possible to be in vain when audience couldn’t catch the point trailer editors set or the type is unable to attract audience’s interest. Therefore, the study provides a brief overview of the components of the trailer. It then goes on to the discussion of how could trailer uses the components to attract the audiences while winning the Best of Show.

    The study takes Best of Show in "Gold Trailer Award" over these years as research subjects. The textual analysis was based on film aesthetics and visual psychology, so as to examine the commonality of the components in the Best of Show trailers. Besides, in-depth interviews are conducted to explore the artful thoughts understanding level of the audiences from currently employed trailer editors. Finally, textual analysis and in-depth interviews are integrated to discuss the effective usage of the components while making audiences possible to be aware of the artful thoughts in trailers.

    The research showed: (a) the components of trailer can influence the possibility of receiving awards, and the content of the story, subtitles, music, and editing have the most important influence, and (b) the components of trailer arrangements can enhance the motivation of audiences in watching movies and increase the trailer’s effect of publicity. (c) with the impact of information explosion and the popularity of the Internet, the narration components have gradually not adopted. (d) the arrangement of artful thoughts in trailers should focus on the preferences of the current audience in order to avoid the situation of failing to receive.

    摘要………………………………………………………………………………… i Abstract…………………………………………………………………………… ii 目錄…………………………………………………………………………………iii 圖目錄……………………………………………………………………………… v 表目錄……………………………………………………………………………… vi 第一章 緒論……………………………………………………………………… 1 第一節 研究背景與動機……………………………………………………… 1 第二節 研究目的與問題……………………………………………………… 3 第三節 名詞解釋……………………………………………………………… 4 第四節 研究範圍與限制……………………………………………………… 6 第二章 文獻探討………………………………………………………………… 8 第一節 預告片………………………………………………………………… 8 一、 預告片定義與起源………………………………………………… 8 二、 預告片種類………………………………………………………… 9 三、 好萊塢對預告片之觀念…………………………………………… 10 第二節 預告片構成要素……………………………………………………… 13 一、 明星卡司…………………………………………………………… 13 二、 製作團隊…………………………………………………………… 14 三、 劇情內容…………………………………………………………… 15 四、 字幕………………………………………………………………… 15 五、 旁白………………………………………………………………… 16 六、 音樂………………………………………………………………… 16 七、 剪輯………………………………………………………………… 17 第三節 影視美學與視覺心理學……………………………………………… 19 一、 影視美學…………………………………………………………… 19 二、 視覺心理學………………………………………………………… 21 第四節 小結…………………………………………………………………… 24 第三章 研究設計………………………………………………………………… 25 第一節 研究架構……………………………………………………………… 25 第二節 研究方法……………………………………………………………… 28 一、 文本分析法………………………………………………………… 28 二、 深度訪談法………………………………………………………… 29 第三節 研究對象……………………………………………………………… 31 第四節 研究工具……………………………………………………………… 33 第五節 研究實施……………………………………………………………… 35 一、 資料來源…………………………………………………………… 35 二、 文本分析法實施…………………………………………………… 37 三、 深度訪談法實施…………………………………………………… 39 第六節 資料處理與分析……………………………………………………… 40 第四章 研究結果與討論………………………………………………………… 42 第一節 最佳預告片構成要素之文本分析…………………………………… 42 一、 最佳預告片之明星卡司要素……………………………………… 42 二、 最佳預告片之製作團隊要素……………………………………… 45 三、 最佳預告片之劇情內容要素……………………………………… 47 四、 最佳預告片之字幕要素…………………………………………… 50 五、 最佳預告片之旁白要素…………………………………………… 52 六、 最佳預告片之音樂要素…………………………………………… 54 七、 最佳預告片之剪輯要素…………………………………………… 56 第二節 構成要素對最佳預告片之影響……………………………………… 60 第三節 影界人士訪談結果…………………………………………………… 67 一、 影界人士對預告片之觀點………………………………………… 67 二、 影界人士對預告片構成之看法…………………………………… 71 三、 影界人士對預告片相關理論之觀點……………………………… 80 四、 影界人士對預告片巧思之觀點…………………………………… 90 第五章 結論與建議……………………………………………………………… 94 第一節 研究結論……………………………………………………………… 94 第二節 後續研究建議…………………………………………………………101 參考文獻………………………………………………………………………… 102 附錄一 訪談同意書………………………………………………………………109 附錄二 訪談逐字稿………………………………………………………………110

    一、中文部分
    于范、董昕(2016)。電影預告片的吸引力特性分析。北方傳媒研究,6,66-68。
    李娟娟(2009)。論電影預告片的廣告特性。電影評介,16,74-74。
    吳靜(2012)。談影視作品預告片的剪輯。記者搖籃,11,55-55。
    余炳輝(1986)。社會研究的方法。浙江:浙江人民出版社。
    金丹元(2001)。影視美學導論。上海:上海大學出版社。
    林谷峻、羅雁紅、吳晉賢(2014),影響電影票房價值因素之探討─以國產電影為例,藝術學報,94,167-201。
    林逢祺(譯)(2008)。美學概論(原作者:D. Townsend)。台北:學富文化。
    馬池珠、徐福蔭、魏擁軍(2007)。基於受眾中心論的電視傳播。中國電化教育,3,5-8。
    孫春華、劉業政(2017)。電影預告片在線投放對票房的影響─基于文本情感分析方法。中國管理科學,10,151-161。
    唐維敏(譯)(1996)。大眾傳播研究方法─質化取向(原作者:Jensen, K. B., & Jankowski, N. W.)。台北市:五南圖書。
    高燕、王毅杰(2002)。社會研究方法。北京:中國物價出版社。
    陳一平(2011)。視覺心理學。台北:雙葉書廊。
    陳林俠、孟雨蒙(2012)。預告片:是票房保證還是華麗陷阱。中國電影市場,6,15-16。
    陳韻鴻(2008)。2008好萊塢:靠預告片賣電影。電影Movie,11,18-19。
    游美惠(2000)。內容分析、文本分析與論述分析在社會研究的運用。調查研究,8,5-42。
    閆新(2011)。電影預告片的內容構成與傳播策略。當代電影,11,148-151。
    葉豪(2011)。論訪談類電視新聞節目的受眾影響。新聞天地(下半月刊),5,137-138。
    景雪(2013)。論電影預告片的藝術結構和商業特性。電影新作,2,70-73。
    劉立行(2009)。國家電影制度:政治、經濟、文化、產業之理論與實務。台北:正中書局。
    劉立行(2013)。當代電影理論與批評。台北:五南書局。
    劉倩(2011)。獨特的噱頭,新穎的包裝─電影預告片的製作與消費。成都大學學報,4,117-120。
    蔡靚(2010)。電影的”情緒效應”─論電影的情緒元素對人的心理的影響。台州學院學報,32,66-69。
    錢家渝(2006)。視覺心理學:視覺形式的思維與傳播。上海:學林出版。
    瞿錦春、張芬芬(譯)(2006)。視覺心理學(原作者:R. L. Gregory)。台北:五南圖書。

    二、英文部分
    Albert, S.(1998). Movie Stars and the distribution of financially successful films in the motion picture industry. Journal of Cultural Economics, 22, 249-270.
    Archer-Brown, C., Kampani, J., Marder, B., S.Bal, A., & Kyetzmann, J.(2017). Conditions in prerelease movie trailers for stimulating positive word of mouth a conceptual model demonstrates the importance of understanding as a factor for engagement. Journal of Advertising Research, 57(2), 159-172.
    Batat, W., & Wohlfeil, M.(2009). Getting lost “Into the Wild”: understanding consumers’ movie enjoyment through a narrative transportation approach. Advances in Consumer Research, 36, 372-377.
    Bahng, S. J., Yoo, D. W., Hutchings, P., Shi, C.K., & Wakefield, G. (2015) Poetry of separation: the aesthetics of spatial montage and generative editing for Mmulti-layered screens. International Conference on Arts and Technology, 145, 61-68.
    Baek, H., Oh, S., Yang, H.D., & Ahn, J.(2017). Electronic word-of-mouth, box office revenue and social media. Electronic Commerce Research and Applications, 22, 13-23.
    Chen, X., Chen, Y., & Weinberg, C.B.(2012). Learning about movies: the impact of movie release types on the nationwide box office. Journal of Cultural Economics, 37(3), 359–386.
    Chang, B. H., Nam, S. H., Chan-Olmsted, S. M., & Kim, H.(2016). Repeat consumption of media goods: examining factors affecting repeat theatrical viewing of movies. Journal of Media Economics, 29(4), 167-180.
    Clement, M., Wu, S., & Fischer, M.(2014). Empirical generalizations of demand and supply dynamics for movies. International Journal of Research in Marketing, 31(2), 207-223.
    Cohen, O. F.(2014). The new language of the digital film. Journal of Popular Film and Television, 42(1), 47-58.
    Correia, A. F., & Barbosa, S.(2018). Cinema, aesthetics and narrative: Cinema as therapy in substance use disorders. The Arts in Psychotherapy, 60, 63-71.
    Ding, C., Cheng, H.K., Duan, Y., & Jin, Y.(2017). The power of the “like” button: the impact of social media on box office. Decision Support Systems, 94, 77-84.
    Devlin, M.B., Chambers, L.T., & Callison, C.(2011). Targeting mood: using comedy or serious movie trailers. Journal of Broadcasting & Electronic Media,55 (4),581–595.
    Desai, K. K. & Basuroy, S.(2005). Interactive influence of genre familiarity, star power, and critics’ reviews in the cultural goods industry: The case of motion pictures. Psychology & Marketing, 22(3), 203–223.
    Elberse, A.(2007). The power of stars: do star actors drive the success of movies? Journal of Marketing,71(4), 102-120.
    Elsaesser, T.(2017). The Hollywood turn: persistence, reflexivity, feedback. Screen, 58(2), 237–247.
    Escalas, J. E., & Bettman, J. R.(2017). Connecting with celebrities: how consumers appropriate celebrity meanings for a sense of belonging. Journal of Advertising, 46(2), 297–308.
    Finsterwalder, J., Kuppelwieser, V.G., & de Villiers, M.(2012). The effects of film trailers on shaping consumer expectations in the entertainment industry—A qualitative analysis. Journal of Retailing and Consumer Services, 19(6), 589-595.
    Foster, P., Manning, S., & Terkla, D.(2015). The rise of hollywood east: regional film offices as intermediaries in film and television production clusters. Regional Studies, 49(3), 433-450.
    Gilbey, R.(2006). Trailer trash. New Statesman, 135, 42-44.
    Governo, F., Teixeira, A.A.C., & Brochado, A.M.(2017). Social multimedia computing: an emerging area of research and business for films. Journal of Creative Communications, 12(1), 31-47.
    Golden Trailer Awards. (2018). Frequently asked questions [Web blog message]. Retrieved from https://www.goldentrailer.com/about/faq/
    Grainge, P.(2004). Branding Hollywood- studio logos and the aesthetics of memory and hype. Screen, 45(4), 344–362.
    Gutierrez-Navratil, F., Fernandez-Blanco, V., Orea, L., & Prieto-Rodriguez, J.(2014). How do your rivals’ releasing dates affect your box office? Journal of Cultural Economics, 38(1), 71–84.
    Hanich, J., Wagner, V., Shah, M., & Jacobsen, T.(2014). Why we like to watch sad films. the pleasure of being moved in aesthetic Eexperiences. Psychology of Aesthetics, Creativity, and the Arts, 8(2), 130–143.
    Haidegger, I.(2015). What’s in a name? The art of movie titling. A Journal of Verbal/Visual Enquiry, 31(4), 425-441.
    Hixson, T.K.(2006). Mission possible: targeting trailers to movie audiences. Journal of Targeting, Measurement and Analysis for Marketing, 14(3), 210-224.
    Huang, D., Strijnev, A., & Ratchford, B.(2015). Role of advertising and consumer interest in the motion picture industry. Review of Marketing Science, 13(1), 1-40.
    Ho, J. Y. C., Krider, R. E., & Chang, J.(2016). Mere newness: decline of movie preference over time. Canadian Journal of Administrative Sciences, 34(1),33-46.
    Hofmann, J., Clement, M., Völckner, F., & Hennig-Thurau, T.(2017). Empirical generalizations on the impact of stars on the economic success of movies, International Journal of Research in Marketing, 34(2), 442-461.
    Hewing, J., Hagemann, D., Seifert, J., Gollwitzer, M., Naumann, E., & Bartussek, D.(2005). A revised film set for the induction of basic emotions. Cognition & Emotion, 19(7), 1095-1109.
    Hur, M., Kang, P., & Cho, S.(2016). Box-office forecasting based on sentiments of movie reviews and independent subspace method. Information Sciences, 372(1), 608-624.
    Iida, T., Goto, A., Fukuchi, S., & Amasaka, K.(2012). A study on effectiveness of movie trailers boosting customers’ appreciation desire: a customer science approach using statistics and GSR. Journal of Business & Economics Research ,10(6), 375-384.
    IMDb. (2018). Golden trailer awards [Web blog message]. Retrieved from https://www.imdb.com/event/ev0000907/overview/?ref_=ev_sa_1
    Jerrick, D.(2013). The effectiveness of film trailers: evidence from the college student market. UW-L Journal of Undergraduate Research, 16, 1-13.
    Johnston, K. M.(2008).'The coolest way to watch movie trailers in the world' trailers in the digital age. The International Journal of Research into New Media Technologies, 14(2), 145-160.
    Joshi, A.M., & Hanssens, D. M.(2009). Movie advertising and the stock market valuation of studios: a case of “Great Expectations?”. Marketing Science, 28(2), 239–250.
    Joshi, A.(2015). Movie stars and the volatility of movie revenues. Journal of Media Economics, 28(4), 246-267.
    Karniouchina, E.V.(2011). Impact of star and movie buzz on motion picture distribution and box office revenue. International Journal of Research in Marketing, 28(1), 62-74.
    Karray, S., & Debernitz, L.(2017). The effectiveness of movie trailer advertising. International Journal of Advertising, 36(2), 368-392.
    Kerrigan, F. (2016). Marketing american indie in the shadow of hollywood. A companion to american indie film (pp. 181-206) doi:10.1002/9781118758359.ch8 Retrieved from www.scopus.com
    Levin, D. T., & Simons, D. J.(1997). Failure to detect changes to attended objects in motion pictures. Psychonomic Bulletin & Review, 4(4), 501-506.
    Liu, A., Zhang, Y., Song, Y., Zhang, D., Li, J., & Yang, Z.(2008). Human attention model for semantic scene analysis in movies. 2008 IEEE International Conference on Multimedia and Expo, ICME 2008 – Proceedings.
    Liu, A., Liu, Y., & Mazumdar, T.(2014). Star power in the eye of the beholder:a study of the influence of stars in the movie industry. Marketing Letters, 25(4), 385-396.
    Liu, X., Shi, W.S., Teixeira, T., & Wedel, M. (2018). Video content marketing: the making of clips. Journal of Marketing, 82(4), 86-101.
    Loertscher, M. L., Weibel, D., Spiegel, S., Flueckiger, B., Mennel, P., Mast, F. W., & Iseli, C.(2016)As film goes byte: the change from analog to digital film perception. Psychology of Aesthetics, Creativity, and the Arts, 10(4), 458-471.
    Mayer, S., & Landwehr, J. R.(2018). Quantifying visual aesthetics based on processing fluency theory: Four algorithmic measures for antecedents of aesthetic preferences. Psychology of Aesthetics, Creativity, and the Arts, 12(4), 399-431.
    Mcgregor, R.(2014). Cinematic philosophy: experiential affirmation in "memento". The Journal of Aesthetics and Art Criticism, 72(1),57-66.
    McCullough, H., & Conway, L. G., III (2017). “And the Oscar Goes to . . .”: integrative complexity’s predictive power in the film industry. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. http://dx.doi.org/10.1037/aca0000149
    Moon, S., Bergey, P.K., & Iacobucci, D.(2010). Dynamic effects among movie ratings, movie revenues, and viewer satisfaction. Journal of Marketing, 74, 108-121.
    Nelson, E.(2013). Beneath the surface and the excess: an examination of critical and aesthetic attacks on films of the 1980s. The Journal of Popular Culture, 46(5), 1029-1050.
    Oh, C., Roumani, Y., Nwankpa, J.K., & Hu, H.F.(2017). Beyond likes and tweets: consumer engagement behavior and movie box office in social media. Information & Management, 54(1), 25-37.
    Pangarker, N.A., & Smit, E. v. d. M.(2013). The determinants of box office performance in the film industry revisited. Academic Journal, 44(3), 47-58.
    Pinna, B., & Reeves, A.(2009). From perception to art: how vision creates meanings. Spatial Vision, 22(3), 225-272.
    Prag, J., & Casavant, J.(1994). An empirical study of the determinants of revenues and marketing expenditures in the motion picture industry. Journal of Cultural Economics, 18, 217-235.
    Prieto-Rodriguez, J., Gutierrez-Navratil, F., & Ateca-Amestoy, V.(2014). Theatre allocation as a distributor’s strategic variable over movie runs. Journal of Cultural Economics, 39(1), 65-83.
    Rao, V.R., Ravid, S.A., Gretz, R.T., Chen, J., & Basuroy, S.(2017). The impact of advertising content on movie revenues. Marketing Letters, 28(3), 341-355.
    Sauer, M.(2014). Cue-recognition effects in the assessment of movie trailers. Journal of Retailing and Consumer Services, 21(3), 376-382.
    Sampson, B.(2014). Marketing miracles: the modern intersection of Hollywood and Christian film cultures. Creative Industries Journal, 7(1), 33-44.
    Scott, A. J.(2004). The other Hollywood: the organizational and geographic bases of television-program production. Media, Culture and Society, 26(2), 183-205.
    Sedgwick, J., & Pokorny, M.(2014). The consumption characteristics of film. Researchgate. Retrieved from https://www.researchgate.net
    Shimamura, A P., Cohn-Sheehy, B.I., Pogue, B. L., & Shimamura, T. A.(2015). How attention is driven by film edits: A multimodal experience. Psychology of Aesthetics, Creativity, and the Arts, 9(4), 417-422.
    Stapleton, C.B., & Charles, C.E.(2005). Mixed reality and experiential movie trailers: combining emotions and immersion to innovate entertainment marketing. IEEE Computer Graphics and Applications, 25(6), 23-27.
    Suckfüll, M., & Moellering, K.(2015). The differential success of movie trailers. Journal of Retailing and Consumer Services, 22, 138-144.
    Tarvainen, J., Westman, S., & Oittinen, P.(2015). The way films feel: Aesthetic features and mood in film. Psychology of Aesthetics, Creativity, and the Arts, 9(3), 254-265.
    Tadimari, A., Kumar, N., Guha, T., & Narayanan, S.S.(2016). Opening big in box office? trailer connect can help. 2016 IEEE International Conference on Acoustics, Speech, and Signal Processing, 2777-2781. Shanghai, China:IEEE.
    Wallentin, E.(2016). Demand for cinema and diverging tastes of critics and audiences. Journal of Retailing and Consumer Services, 33, 72-81.
    Wang, Y.(2009). Understanding local reception of globalized cultural products in the context of the international cultural economy A case study on the reception of Hero and Daggers in China. International Journal of Cultural Studies, 12(4), 299-318
    Xu, S., Fu, W.W.(2014). Aggregate bandwagon effects of popularity information on audiences' movie selections. Journal of Media Economics, 27(4), 215-233.

    無法下載圖示 電子全文延後公開
    2024/12/31
    QR CODE