本論文以多模態認知角度，探究電影 《鐵達尼號》 中的概念性隱喻 「愛情是航行」(LOVE IS A SEA JOURNEY)和其中的表現手法。首先，根據Lakoff (1993)所提出的事件結構理論，以及其應用於 「愛情是旅程」 的隱喻上，本文先有系統地討論愛情被比擬成旅程的理論細節。第二，有鑒於概念性隱喻的本質是一種思考方式，它也常出現於語言當中，本論文將進一步採用Forceville (2008a)的多模態概念性隱喻理論和Rohdin (2009)所提出的電影理論，以分析此愛情隱喻可否在愛情電影中以圖像方式呈現。
　　本論文在分析完五十個來自電影 《鐵達尼號》 的場景後，提出幾個重要的論點。首先，Lakoff所論述的 「愛情是旅程」 之隱喻，可在此電影中以圖像方式呈現。然而，圖像化和語言表述的不同處可由Forceville (2008)的見解中發現以下三點: (1)有更強烈的情感性訴求，(2)有更強大的跨國界接觸，和(3)允許更細膩的方式傳達隱喻的意涵。此外，以圖像分析的結果也更有助於三場景結構(the Three-Act Structure)在愛情電影中的安排。
　　第二，本文另外探討兩個電影隱喻 －「邪惡是黑暗」 (EVIL IS DARK)和 「邪惡是降下」 (EVIL IS DOWN) － 在電影 《鐵達尼號》中扮演的角色。分析結果指出這兩個電影隱喻幫助第二幕(Act 2)中製造出戲劇性的效果。例如，每當有不好的事情發生在Jack和Rose身上時 (例如，被Caledon追殺)，他們會被迫往船的底部走，又或者燈光突然地變暗。在另一方面，每當 《鐵達尼號》 中的情節有所好轉時(例如，當Rose知道事件的真實性)，另外兩個概念性隱喻 －「好是明亮」(GOOD IS BRIGHT) 和 「好是上升」 (GOOD IS UP) － 就會適時地出現。整體而言，筆者認為這四個電影隱喻引導《鐵達尼號》中三幕(Act 1-3)的呈現，以及有助於更戲劇性地呈現概念性隱喻 「愛情是航行」 (LOVE IS A (SEA) JOURNEY)。
　　第三點，本文也探討主題曲歌詞，三個愛情隱喻 －「愛情是靠近」(LOVE IS CLOSENESS)， 「愛情是火花」 (LOVE IS FIRE)和 「愛情是結合」 (LOVE IS UNITY) － 拍攝鏡頭和拍攝畫面當中的影響。此分析目的在於更進一步地解釋概念性隱喻 「愛情是航行」 在 《鐵達尼號》 中的表現手法。例如，三個愛情隱喻的出現暗指Rose 和Jack之間的強烈愛情。此愛情能量也呼應歌詞裡面的訊息。換言之，歌詞中傳達出Rose對Jack有著強烈的信念。無疑地，以這樣細膩的方式把一個目標領域(target domain)連結到不同的來源領域(source domain)，有助經驗美學的形成(Forceville, 2013a, p.166)，使《鐵達尼號》 更加打入人心。
　　第四點， 《鐵達尼號》 似對 Lakoff (1993)所提 「愛情是旅途」 (LOVE IS A JOURNEY)的論述有不同的詮釋。例如，每當Jack和Rose遭遇困難時，常是其中一人獨自地解決問題，以便促使他們的旅途可以繼續進行。此對理想化的愛情隱喻所做得不同詮釋想必出乎許多電影觀賞者的期待。最後，本論文提出一個以多模態角度分析 《鐵達尼號》 的理論架構。此架構的主要目的為擬出事件結構理論，多模態概念性隱喻理論和電影理論之間的相互作用以及此互動會對 「愛情是航行」的呈現有何實質的影響。

This thesis aims to contribute to the field of Conceptual Multimodal Metaphor Theory by conducting research into the (multimodal) metaphor LOVE IS A (SEA) JOUNEY in Titanic. To begin with, Lakoff’s (1993) theory of Event Structure (ES) with respect to the metaphor LOVE IS A JOURNEY is discussed. As such, the way love is conceptualized as a road journey is systematically investigated first. Nevertheless, in view of the argument that metaphor is a mainly matter of thought and only derivatively represented through verbal modality, Forceville’s (2008a) Multimodal Metaphor Theory (MMT) and Rohdin’s Film Theory (FT) are further adopted for a non-verbal analysis of Lakoff’s discussion about the love-as-a-journey metaphor in love movies.
After a close examination of fifty scenes from the three acts in Titanic, a few points are made. First of all, such a deep-rooted love journey metaphor is non-verbally represented in Titanic. And, its “uniqueness” supports Forceville’s idea about non-verbal metaphor: (1) to have a stronger emotional appeal, (2) to have a greater cross-cultural access and (3) to allow for more subtle ways of communication. Additionally, it reasonably defines the way the Three-Act Structure is applied in love movies.
Secondly, this study shows that the two film metaphors EVIL IS DARK and EVIL IS DOWN, which were frequently exploited in Act 2 of Titanic, were motivated to create a dramatic effect in the storyline. On the other hand, the metaphors GOOD IS UP and GOOD IS BRIGHT appeared to be strongly suggested whenever something positive was coming up. Overall, it is probable that this metaphorical dichotomy of bright/dark and up/down structures Titanic in its entirety and, therefore, makes the metaphor LOVE IS A (SEA) JOUNEY more dramatically appealing.
Thirdly, the song lyrics, threes love metaphors LOVE IS CLOSENESS, LOVE IS FIRE and LOVE IS UNITY, and camera angle and framing are seen to positively contribute to the formative elements of the metaphor LOVE IS A (SEA) JOUNEY in Titanic. For example, the three love metaphors make the non-verbal love journey metaphor more emotionally intensified. This reinforced love emotion might go with the song lyrics to further show Rose’s strong belief in Jack. Undoubtedly, this subtle way of coupling the three love metaphors with the LOVE IS A (SEA) JOURNEY metaphor makes for “an esthetically pleasing experience” (Foreceville, 2013a, p.166).
Finally, Lakoff’s (1993) discussion about the metaphor LOVE IS A (SEA) JOURNEY seems to be differently reinterpreted in Titanic. For example, it was always one of the couple who had to fix it out independently (and therefore continued the journey). This way of reinterpretation might run contrary to moviegoers’ expectations if an idealized model of love metaphor does exist. In the end, a proposed model is provided to demonstrate the multimodal analysis of Titanic as a whole. It aims to model the way ES, MMT, and FT interact with each other in the realization of LOVE IS A (SEA) JOURNEY in Titanic.

論文審定書 i
Acknowledgement ii
中文摘要 iii
English Abstract v
Chapter 1 Introduction 1
1.1 Background 1
1.2 Research Motivation 6
1.3 Purpose of the Thesis 6
1.4 Organization of the Thesis 7
Chapter 2 Literature Review 8
2.1 Multimodal Metaphor Theory (MMT) 8
2.1.2 Non-Verbal Monomodal Metaphors 9
2.1.2.1 Contextual Metaphor 10
2.1.2.2 Hybrid Metaphor 11
2.1.2.3 Pictorial Simile 12
2.1.2.4 Emotion Metaphors: Anger and Love 13
2.1.3 Non-Verbal Multimodal Metaphors 16
2.1.4 Verbalization of Non-Verbal Metaphors 19
2.1.5 The Determining Effect of a Given Genre 20
2.1.6 Summary 21
2.2 The Film Theory (FT) 21
2.2.1 Superimposition 21
2.2.2 Montage and Cinematography 23
2.2.3 No Formal Characteristics on Surface Level 26
2.2.4 EVIL IS DARK 28
2.2.5 EVIL IS DOWN 30
2.3 Summary 32
Chapter 3 Methodology 33
3.1 Data Collection 33
3.2 Data Analysis Procedure 34
3.3 The Theoretical Framework 35
3.3.1 The Event Structure (ES) 35
3.3.2 Multimodal Metaphor Theory (MMT) and Film Theory (FT) 40
3.4 Summary 43
Chapter 4 Data Analysis 44
4.1 Act 1: Before the Ship Hit the Iceberg 44
4.1.1 Summary: Scenes 1-15 in Titanic 51
4.2 Act 2: After the Ship Hit the Iceberg 52
4.2.1 Summary: Scenes 16-34 in Titanic 62
4.3 Act 3: After the Ship Sank into the Ocean 63
4.3.1 Summary: Scenes 35-50 in Titanic 69
4.4 The Song Lyrics Analysis 70
Chapter 5 Result and Discussion 73
5.1 The Non-Verbal Manifestations of ES in Titanic 73
5.2 Two Film Metaphors: EVIL IS DARK and EVIL IS DOWN 75
5.3 The Multimodal Manifestations of LOVE IS A (SEA) JOURNEY in Titanic 78
Chapter 6 Conclusion 81
References 83
Appendix The Song Lyrics 89

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