動畫對話的維度：創作與理論的流動交錯

文——林青萱

動畫創作與理論研究之間的關係，始終是一種充滿張力的對話。一方面，創作者憑藉直覺與實踐探索動畫的可能性；另一方面，研究者試圖透過理論框架剖析動畫的文化、敘事與技術。然而，當這種對話發展至極端，是否會淪為機械性的循環，甚至走向「溝通失效」的窘境？這種困境，或許可以透過動畫來隱喻。捷克動畫導演楊·斯凡克梅耶（Jan Švankmajer）在其1983年的短片《對話的維度》（Dimensions of Dialogue）中，透過三個段落——「客觀對話」、「激情對話」、「窮盡對話」——探討了溝通的多重面向。【圖1】這部作品不僅是關於「對話」的視覺寓言，也為創作與理論研究的雙重對話提供了絕佳的隱喻。本文將以《對話的維度》作為框架，思考創作與研究的交互作用，並探討兩者如何在碰撞與交融之間尋找共生的可能性。 ⁠⁠

⁠林青萱（202504）。〈動畫對話的維度：創作與理論研究的流動交錯〉，《藝術觀點ACT》101：97-101。

The Dimension of Dialogue in Animation: The Fluid Interplay Between Creation and Theory

Ching-Hsuan Lin

The relationship between animation creation and theoretical research has always been a dialogue filled with tension. On one hand, creators explore the possibilities of animation through intuition and practice; on the other, researchers attempt to dissect its cultural, narrative, and technical dimensions through theoretical frameworks. However, when such dialogue reaches its extremes, does it risk becoming a mechanical cycle—or even falling into the dilemma of communicative breakdown?

This tension may be metaphorically represented through animation itself. In his 1983 short film Dimensions of Dialogue, Czech animator Jan Švankmajer explores multiple facets of communication through three segments: “Factual Dialogue,” “Passionate Dialogue,” and “Exhaustive Dialogue” [Fig. 1]. This work serves not only as a visual allegory on dialogue but also as an apt metaphor for the dual discourse between creation and theory.

Using Dimensions of Dialogue as a conceptual framework, this paper examines the interaction between artistic creation and theoretical research, and explores how the two might seek a symbiotic relationship through their collisions and convergences.