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論文名稱 Title |
漫威電影宇宙的複雜性與觀眾感受 The complexity of the Marvel Cinematic Universe and the audience experience |
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系所名稱 Department |
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畢業學年期 Year, semester |
語文別 Language |
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學位類別 Degree |
頁數 Number of pages |
86 |
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研究生 Author |
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指導教授 Advisor |
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召集委員 Convenor |
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口試委員 Advisory Committee |
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口試日期 Date of Exam |
2023-12-01 |
繳交日期 Date of Submission |
2023-12-11 |
關鍵字 Keywords |
漫威影業、跨媒體、敘事手法、電影彩蛋、觀眾態度 Marvel Studio, Transmedia, Stroytelling, Movie Easter Eggs, Audience Experience |
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統計 Statistics |
本論文已被瀏覽 271 次,被下載 20 次 The thesis/dissertation has been browsed 271 times, has been downloaded 20 times. |
中文摘要 |
漫威影業 (Marvel Studios) 是一間極具權威以及名聲的電影公司,在漫畫改編電影以及系列作品的產業中,漫威被譽為產業界中的領頭羊。從自家的漫威漫畫(Marvel Comics) 發跡,隨著版圖的擴大,其系列品牌橫跨於漫畫、電影、遊戲、周邊、連續劇、線上平台……等等。漫威自成一格的發展模式備受世人愛戴和稱頌。然而其爆炸般成長發展,漫威的多元宇宙、多故事、多樣化的方式擴展品牌的廣度,卻有讓市場上質疑的聲音出現。 漫威電影有著巨大的影響力,其故事與世界觀隨著時間的推移不斷的成長與發展,一系列的續作以及品牌英雄讓人們愛不釋手,從最一開始的鋼鐵人漫畫改編,接著加入各個英雄,並且集結成復仇者聯盟的電影手法令人讚嘆不已。漫威電影的商業成功模式值得人們去研究與發展,其競爭對手DC,也開始學習和致敬漫威多元宇宙的發展模式;甚至DC也開始發展多故事線、多宇宙、多時空的方式挑戰著觀眾,也挑戰著這競爭的消費市場。 然而就是因為這樣的競爭讓我不禁想要去探究,漫威影業這樣的故事發展模式,是否真的讓消費者全都買單或接受? 本人並無法充分享受和體驗漫威過分龐大的世界觀以及超出負荷的故事連結,多數的情況下,甚至要預先做功課才能理解後續電影中導演安放的特殊情節或是橋段。因此有許多不能理解的劇情或是彩蛋會在觀影時於心中浮現。 此篇論文會針對漫威超級英雄的系列電影以及系列作品分析其成功的原因以及後期的發展與觀眾的感受。這篇論文以訪問的方式並採取質性研究,研究對此品牌系列作的評論以及看法。 |
Abstract |
Marvel Studios is a powerful and well-known film company, recognized as the industry leader in comic book film adaptations and series to its movies. Starting with its own Marvel Comics, the company has expanded its portfolio of brands to include comics, movies, games, TV series, online platforms, etc... Marvel's unique development model has been welcomed and celebrated by the audience around the world. However, its explosive growth and development in Marvel's multiverse, multi-story, and diverse approach to expanding the brand, making the audiences raising some doubt in the market. Marvel movies have had a huge impact, with stories and its universe that have grown and evolved over time, with a series of sequels and branded heroes that people have come to love. Starting with the original Iron Man comic book adaptation, then adding individual heroes and assembling them into the breathtaking Avengers franchise. The commercial success of Marvel's movies is worth studying and developing, and its competitor, DC, has begun to learn from and pay respects to Marvel's multiverse development model; even DC has begun to develop multi-story lines, multi-universes, and multi-temporal approaches to challenge the audience, as well as to challenge the competitive audience market. However, because of this competition, I can't help but wonder whether Marvel Studios' storytelling model is really acceptable to all audiences. I have not been able to fully enjoy and experience Marvel's overly large universe and overloaded storytelling, and in most cases, I had to do my pre-study beforehand to understand the special plot or sequences placed by the director in the subsequent movies. As a result, there are a lot of incoherent plots or “easter eggs” that I couldn’t comprehend in my mind when watching the movie. In conclusion, this essay will analyze the success of the Marvel superhero movie series and analyze the reasons for their success and how they have evolved and how they are perceived by the audience. This paper is qualitative research that examines the critics and perceptions of the brand's series. |
目次 Table of Contents |
TABLE OF CONTENTES LETTER OF VALIDATION i ABSTRACT摘要 ii ABSTRACT iii ACKNOWLEDGEMENTS v TABLE OF CONTENT vii CHAPTER 1 INTRODUCTION 1 1.1 BACKGROUND 1 1.2 MOTIVATION 2 1.3 OUTLINE OF STUDY 3 CHAPTER 2 LITERATURE REVIEW 5 2.1 RISES OF THE MARVEL COMICS 5 2.2 STORY TELLING 6 2.2.1 Hero-making formula 7 2.2.2 Translation of Hero from the Past 11 2.3 TRANSMEDIA 12 2.3.1 Rewriting 13 2.3.2 Adaption to the Media and the Audience 15 2.3.4 Easter eggs 16 2.4 CONFUSIONS IN CHARACTERS AND STORYLINES, THE EVER-EXPANDING MCU 17 2.5 ACTUAL NUMBERS MARVEL MAKES 19 2.5 RESEARCH QUESTIONS 24 CHAPTER 3 RESEARCH METHOD 25 3.1 RESEARCH METHOD 25 3.1.1 Research Method- Qualitative Method 25 3.1.2 Methodological Approach 26 3.2. INTERVIEW 27 3.3 RESEARCH ETHICS 28 CHAPTER 4 FINDINGS AND ANALYSIS 31 4.1 FINDINGS AND ANALYSIS 31 4.1 SUMMARY OF INTERVIEWS 31 Interview 1: 31 Interview 2: 32 Interview 3: 33 Interview 4: 34 Interview 5: 36 4.1.1 Similarities: 37 4.1.2 Differences: 37 4.2 BRAND LOYALTY 39 4.3 CONCLUSION OF THE INTERVIEWS 39 CHAPTER 5 CONCLUSION 41 REFERENCES 45 APPENDIX 48 INTERVIEW 1 49 INTERVIEW 2 54 INTERVIEW 3 63 INTERVIEW 4 67 INTERVIEW 5 72 |
參考文獻 References |
REFERENCE Rukeyser, M. (1968). The Speed of Darkness. Setterfield, D. (2006). The Thirteenth Tale. Campbell, J. (1949). The Hero with a Thousand Faces. Flanagan, M., McKenny, S., & Livingstone, K. (2016). The Marvel Studios Phenomenon: Inside a Transmedia Universe. Jenkins, H. (2008). Convergence Culture: Where Old and New Media Collide. New York, NY: New York University Press. Richardson, A. S. (2017). Fandom, Racism, and the Myth of Diversity in the Marvel Cinematic Universe. Elder, J. (2018). It’s All Connected: Exploring the Interconnectivity of the Marvel Cinematic Universe. Menard, D. (2015). Entertainment Assembled: The Marvel Cinematic Universe, a Case Study in Transmedia. Gullickson, B. (2021). The Marvel Cinematic Universe is Too Complex for Its Own Good. Retrieved from https://www.inverse.com/entertainment/marvel-cinematic-universe-complexity. Kram, Z. (2019). The Marvel Cinematic Universe is Too Big and Complex. The Ringer. Bedard, M. (2021). Why the Marvel Cinematic Universe's Complexity is Both a Blessing and a Curse. Bibbiani, W. (2020). The Marvel Cinematic Universe is Running Out of Steam: Is Complexity the Reason? Box Office Mojo, (2023), Box-office of-Franchise: Marvel Cinematic Universe, Box-Office Mojo by IMDbPRO, retrieved from https://www.boxofficemojo.com/franchise/fr541495045/?ref_=bo_frs_table_1 Statista, (2023), Production costs and global box office revenue of selected Marvel Comics movies from 2002 to 2022, Statista, retrieved from https://www.statista.com/statistics/323886/marvel-comics-films-production-costs-box-office-revenue/ Statista. (2023), Highest-grossing movie franchises and series worldwide as of June 2022, Statista, retrieved from https://www.statista.com/statistics/317408/highest-grossing-film-franchises-series/#:~:text=As%20of%20June%202022%2C%20the,of%2026.6%20billion%20U.S.%20dollars. Kvale, S., & Brinkmann, S. 2009. Interviews: Learning the craft of qualitative research interviewing. Sage Publications.) Denzin, N. K., & Lincoln, Y. S. 2018. The Sage Handbook of Qualitative Research. Sage Publications.) |
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