本研究以「經典童話之跨媒介角色及紀實素材」為例,探索閱聽人跨平 台詮釋童話角色歷程。閱聽人因初級想像而引發五感聯想及懷舊情感,或因 次級想像而再創作並共構故事網絡。閱聽人對照童話原作及改編版,若發現 角色再現之跨媒介間隙,需尋找外延文本「補白」、弭合既定版本之認知差 異。閱聽人可自改編版本引發否定性,「初級否定性」(primary negativity) 涉及演員對角色樣貌想像,如某演員詮釋真人版電影合宜度;「次級否定性」 (secondary negativity) 涉及閱聽人反思童話類型,反思改編者選擇紀實素材 而再塑經典角色之敘事策略,思索紀實支線輔助 / 辨證關係。

關鍵詞:互媒、故事網絡、跨文本支線、跨媒介角色、跨媒介敘事 

This study used transmedia characters and transtexts related to classical fairytales as case examples to explore an audience’s cross-platform interpretation process. The audience developed sensual associations and nostalgic emotionsusing their primary imagination, or they recreated and coconstructeda story network using their secondary imagination.If upon comparing the original and recreated versions of the fairy tale the audience found that the recreated characters demonstrated transmedia gaps, they sought extra-intertextuality as a means through which to fill in the cognitive differencesbetween the established versions.The audience developednegativity from derivative works. Primary negativity involves imagination regarding an actor’s appearance as a character (i.e., the suitability of an actor for the role of an established fictional character).Secondary negativity involves reflections by the audience on the story (i.e., the fairytales);in this study, the audience reflected upon the narrative strategiesthe adaptations employed to retell the stories of classical characters.Through this, the audience speculatedon the assistive and dialectic relationshipsof transtexts.

Keywords: Intermediality; story network; transtexts; transmedia character; transmedia storytelling