兒童集體暴力的目擊現場－怪物三部曲創作研究

Abstract

「怪物三部曲」是個典型的文學公式，出自科幻文化中對於「怪物」生命史的描述。其結構進展依序為：「人製造怪物、怪物殺人、人再殺怪物」。「怪物」的角色在符合社會期望的壓迫下，成為一種孤獨、被排拒的弱勢者；就像卡謬的《異鄉人》中被道德常規壓制的主角，個人難以在荒謬的社會情境中得到自身的棲所。筆者以怪物三部曲作為創作的骨架，運用兒童的霸凌行為來描述弱者被迫變成怪物的過程，以及最終作惡者被集體力量毀滅的命運。 作品以類似「插畫」的形式表現，像是繪本般的述說故事，並利用「鏡頭視角」來記錄霸凌事件的發生與結果。另由於當霸凌事件發生時如果有第三者在場，則暴力行為通常會被制止。所以身為一名目擊者，為滿足觀賞暴力的渴望，會透過鏡頭將自身隱藏在當事人看不到的地方偷偷觀察。對於看似完全客觀的立場，不介入的觀者亦成為了悲劇事件的加害人。畫面以奇幻的寫實風格呈現，以魔幻、不合邏輯的事物和時空來表達真實世界背後的狀態。

以下說明本創作論文的架構： 首先第一章說明創作動機，創作研究之目的以及創作研究之範圍與方法。第二章講述創作理念的基礎。先利用社會學的理論來解釋分析集體暴力的行為模式，接著用文學以及電影等作品來說明「荒謬的社會處境」如何造就怪物的誕生，再來則是由社會學和影像文化理論闡述觀眾與目擊者的嗜血心態，以及最後插畫的歷史源由與形式介紹。第三章為怪物三部曲的創作理念。講述應用怪物三部曲的方法和形式以及將目擊者的身分清楚地定義。第四章為創作形式、媒材與技法。清晰地條理出創作步驟以及材料使用方法。第五章則是針對作品的內容與畫面元素作全面的解析。《Monster Trilogy》is a literary rule which from the science fiction that explains the life of monster : 1. Man creates monster 2. Monster kills men 3. Men kill monster The trilogy shows how the destiny of a monster should be, and this rule influenced across literature and popular culture and spawned a complete genre of horror stories, movies, and plays. The monster is a symbol of outsider and minority which exists under the pressure of society. People have to follow the rules from our society and try to fit its stander. Just like what the leading role had experienced in the novel 《L'Étranger》(1942) of Albert Camus, the outsider can really hard to find a place to survive in this absurd circumstance. Therefore the author takes the “trilogy” as the skeleton of story line, by using the “bullying” of children to represent the process of the birth of a monster. The victim of bullying, sometimes, might takes response. Due to retaliation or other reasons, the victim turns to be the evil one. He/she starts to hit back and do harm to those bullies. So the weak becomes the monster, but in the end the monster still can not escape from the rule of 《monster trilogy》, its miserable life will destined to be ended by people. By using the form of illustration, the author can tell the story by serial pictures. And the ”round” picture is a symbol of lens. Because of the viewer, as an adult witness, he/she is a person with authority that will stop the children to do bad thing if he/she is present. So the viewer has to hide himself/herself (behind the wall) to observe everything, and the tragedy has been recorded, by the person who unconcerned about what he/she sees (because all the witness wants to do is to capture the image, rather than helping). By using the power of creation, the author wants to show some unseen evil and unfairness in everyday life. We should pay more attention to the potential monster before thing’s getting worse. The monster has to suffer from its destiny, we can hardly change it. But what we can do is to put down the lens, and stop stay behind the wall.