結局差異對觀賞悲劇文本的觀影經驗之影響—探討向下比較與後設評估機制

Abstract

本研究主要關注對為何人們悲傷電影中獲得滿足感，特別是那些擁有悲慘結局的悲劇電影。因此，本研究將聚焦在，分別觀看好/壞結局的悲傷電影中，情緒如何由負向轉換為正向情緒，其心理機制是否有所差異。而本研究也將結合感知真實、文本轉移、社會比較以及情緒的後設評估等變項，目的在於為悲劇電影之觀影經驗建構一完整理論架構。

而本研究經過結構方程模型（SEM）分析後顯示，在壞結局的悲劇版本電影中，感知真實可以顯著的預測文本轉移之路徑；接著，文本轉移亦與向下比較、後設評估之路徑顯著；最後，後設評估與後設情緒（欣賞感）之路徑顯著。

另一方面，而在觀看好結局的悲傷電影中，結構方程模型（SEM）分析顯示，電影帶來的感知真實與文本轉移之路徑顯著，且文本轉移與欣賞感之路徑亦顯著。最後，本研究亦發現，對悲劇電影來說，情緒不會由負轉正，因為負向情緒與正向情緒是分別存在於兩獨立之情緒構面上。

This research mainly focuses on why people can feel gratified when watching a sad film especially that ends miserably. Thus, this research delivers deeper insights in processes of how negative emotions transforming negative emotions to positive emotions during the good/bad end version of sad-film exposure. This article also integrates perceived realism, transportation, downward comparison, and meta-emotion, for the purpose of creating a theoretical model of viewing experience during tragedy exposure.

In the bad end version (tragedy), the results from SEM (structural equation modeling ) analyses shows that perceived realism of the movie is a positive predictor of transportation. Then, transportation is a positive predictor of downward comparison and meta-appraisals. Meta-appraisals, in turn, is a positive predictor of meta-emotion (appreciation) of tragedy.

On the other hand, in the bad end version, the results from SEM analyses shows that perceived realism of the movie is a positive predictor of transportation. Then, transportation is a positive predictor of appreciation.

At last, other findings in this article, that is, the negative emotion (sadness) can not be transformed into a positive meta-emotion. Because both negative and positive emotion are independently on the different emotional dimension.