本個案《巨獸》為一30分鐘長的劇情短片，是為因應文建會「敘事短片攝製獎助」對於原創性與攝製能力的要求而企劃的製作案。故事背景設定在民國53年－－「八二三炮戰」結束六年後，以持續於金門、廈門兩地間展開的心戰喊話為題材，是首部以金門地區「播音牆」為主題的短片。 　　本報告撰寫人以親身參與方式首次擔任製片，實際投入《巨獸》一案從開發企劃、前製期、製作期到後製期的各項製片工作與決策中。在面對預算不足以及拍攝時間有限的壓力下，如何節省時間和金錢但不犧牲影片質感，就必須制定有效的策略和妥善地規劃來加以因應，並對各項製作環節進行嚴格把關。因此本個案嘗試從電影產製流程中著手導入製作管理的概念來提升效率及維持品質，建立學生與專業製作團隊的成功合作模式，並將實作經驗提出檢討與建議。 　　實際操作結果發現，本片在影像品質、演員演出、場景設定和美術表現各方面都符合預設的製作標準，意即本片確有落實對於製作品質的控管。然而就製作成本、拍攝時間與進度的掌控來看，則未達成預定目標。進一步探究原因，本片在製片經驗不足的情況下，導致影片前後製作流程無法產生順暢的扣連，不斷回頭銜接上下環節導致時間未能有效控管，而意外狀況頻仍除了造成預算控管失當，也突顯影片拍攝的高度變動性以及事前準備的不足。 　　因此這樣的經驗得以發現，製片的工作不能徒具理念，也應具備專業的知識，對整體流程有全知性的視野，同時也必須時時刻刻切換至不同對象或單位的立場，經由不厭其煩的溝通協調，將管理化為實際的互動，才能有效地落實製作管理的概念。此外，製片更應回歸到劇本發想階段推行「產銷一體」的概念，尋求目標觀眾與開發劇本賣點，同時審慎評估題材的拍攝時機，是否可與社會議題或潮流接軌，從中思考行銷的著眼點與可製造的新聞話題，則更有助於行銷宣傳的推展。

對於社工,一般大眾的瞭解不深,常伴隨著「做好事」、「幫助窮人」、「有愛 心」等刻板印象;或是負面的「拆散家庭」、「多管閒事」、「官僚」;甚至有許多 人以為社工就是志工,是不支薪而樂於付出的一群。創作者自幼長期接觸社工與 其工作環境,盼透過影像創作方式,呈現台灣社工所面臨的某些現實。 《標準量表》從一兒虐案出發,以類紀錄片的方式帶出相關人事物,討論案 中每個角色所面臨的困難與心理衝擊,以及案發後所有人如何適應、回歸、繼續 生活。特別將視角集中在負責本案的基層社工,以她為敘事中心,講述一個社工 與家暴家庭的互動故事,呈現社工在個案服務工作中的心情轉折,讓觀眾有機會 認識這些心理負擔與壓力。並期待透過本片,建構一個兩難的世界,畢竟真實社 會中的習題,往往不是結束在一個定點,而是事情發生後,人們怎麼繼續走下去。 / We don’t know much about social workers, who sometimes been thought of “doing things good”, “helping the poor”, “kind and compassionate”; or accompanied with some negative thought, “destroy families”, “make uncalled-for meddling”, and “officialdom”. Even some people think social workers are volunteers, who are happy and willing to help people without salary. The writer of this story has contacted with social workers since she was a child and tries to show some reality of them by visual productions. Standard Scale of Humanity is a story of a basic level social worker and a child-abused family, and produced by skills of mockumentary. The film lets every character in the case talks about her stories, feelings, and how to back to the normal life after the tragedy, so the audiences have chances to know more about the pressure, load, and difficulties of social workers and offenders. Moreover, the production hopes to create a situation of dilemma, because things not always stop at a particular point in the real world, after all, it is more important to know how to live after something bad happened.

《罪羊人》是一部獨立集資並用高畫質數位單眼反射相機 （HD-DSLR）所攝製而成的原創劇情短片，從發想編寫到後製完成共歷經了一年多的時間，內容取材自創作者二十多年的生命經驗，將人生中的喜好、痛苦、感動、疑惑給整理融合並壓縮提煉出來，主題是關於罪惡、宗教和寬恕，故事敘述一名因醫療疏失而入獄服刑的救護車司機，出獄後依然擺脫不了罪惡感，進而陷入信仰混亂的洗罪過程，在經過一連串的掙扎，最後仍舊無法逃離循環的枷鎖，人與神似乎都不是罪惡難題的完美解答。 在文獻探討部分，本片因借用義大利西部片的老電影片段來當作情感連結和隱喻，於是回顧了互文理論和電影類型，另一方面本片也觸及了心理學、哲學和宗教儀式的主題，所以在負罪感以及猶太新年贖罪期也有所著墨，並列舉了三部相關電影長片作品來作評析比較，分別是韓國李滄東導演的《密陽》、德國法提阿金導演的《天堂邊緣》和墨西哥阿利安卓崗札雷伊納利圖導演的《靈魂的重量》。在作品呈現部分，分別從敘事、類型、選角、場勘、美術、服裝、表演、攝影、燈光、剪輯、配樂、聲音，將每個環節重點敘述和分析一次，包含思維想法、製作過程等等皆會融合納入不同段落，以期忠實呈現創作者的心靈。 / The Teshuvah is an independently-funded original narrative short film, which is shot by HD-DSLR camera. The creator taps into his real-life experience over the past 20 years and more, aggregating and distilling all the love, fondness, pain, affections and confusions, with its theme is set on sin, religions and forgiveness. The story tells an ambulance driver, who serves for his sentence in prison as he was convicted of medical negligence, haunted by his feeling of guilt after he came out of prison. He eventually becomes trapped by a chaos of seeking redemption from religious belief. After all his struggling, he still cannot escape from the shackle of life`s circulation, and it seems that either human or God(s) could provide a perfect answer to the riddle of crime. As for Literature Review, Intertextuality and movie genres are covered since the film has borrowed from old spaghetti-western movie clips to function as a metaphor of affections bound, while other topics like psychology, philosophy, and religious rituals are also referred to; hence, the feeling of guilt and Jewish Ten Days of Penitence are also depicted. Three other relevant feature films are listed herein to serve the purpose of critical analysis and comparison. They are Secret Sunshine by South Korean director Lee Chang-Tung, The Edge of Heaven by German director Fatih Akin, and 21 Grams by Mexican director Alejandro González Iñárritu. In the respect of presentations of film works, this thesis goes through every essential phase, outlines and provides analysis on narration, genres, casting, location hunting, arts, costumes, acting, shooting, lighting, editting, original music, and sounds. It also indicates that mindsets, production process and so on are also incorporated into different chapters of a film to faithfully represent its creators mind.

短片《黑夜來臨》述說鄭宇勝－三民高中的王牌投手，正侃侃而談他得到勝利與小聯盟合約的喜悅，這讓他可以逃離充滿恐懼的生活。但其實勝利並不是屬於他的，生涯早已報銷的鄭宇勝，將自己投射在別人的勝利中，逃避現實的威脅，在這場設計成「記者採訪」的心理治療裡，鄭宇勝被迫在幻想中看到矛盾之處，道出一場夢靨與真實的自己，而這又是何其殘酷… 　　《黑夜來臨》以黑色電影手法，從選手心理的角度切入台灣棒球的教育問題，探究選手對其選手生命的心理過程，帶觀眾去經歷這樣的過程，藉由一個極端的遭遇，隱喻當代台灣每一個高中選手面對職涯選擇時，受全球選手交易與高中教育不見全的影想。 　　本創作論述報告包含創作動機、電影表現形式手法、相關心理學研究及高中棒球環境的田野調查報告，亦包含從前製、攝製期與後製期的工作紀錄，並說明本片在試映後的觀眾反應及修改方向。 / In psychiatrist's room, CHENG Yusheng, the ace pitcher from Shan Min Senior High School, was eloquently talking about the wining of the game and the joy of signing his minor league's contract. This is not only a childhood dream but, more important, an escape from a lifelong fear, his mother. But in reality, this victory never belongs to Cheng, his career has ended log time ago. He imagined a victory not his own in order to runaway from the threat of real world. In the process of psychotherapy, Cheng was forced to face the contradictions in his hallucination, and told the story of nightmare and truth. And soon the Darkness is a short film about a Taiwanese high school baseball player’s struggle. The film is produced by skills of film noir, and we look at this situation from the angle of sports psychology, focus on the moment when Taiwanese high school players face their future. The director’s report demonstrates the production background of the story, presents the perspective to make this film, and records the process of the production and screening.