Name: 34 分鐘掌握黑武士達斯維達傳奇！ (Darth Vader: An Icon In 34 Minutes)
Uploaded: 2026-02-14T17:24:46.000Z
Duration: 6 min 35 s

So the original Star wars trilogy, episodes IV, V and VI, has a total runtime of 6 hours and 28 minutes.

所以，星際大戰原始三部曲，也就是第四、五、六集，總片長是六小時又二十八分鐘。

程度副詞

Each movie is pretty much the same length, a little over two hours.

每部電影的長度差不多，都稍微超過兩小時。

And they're also the same in another respect, the amount of time that they feature the series main villain, Darth Vader.

另外，它們還有一個地方很像，那就是影集中主要反派達斯維達出現的時間。

In terms of actual screen time, Vader gets astonishingly little in A New Hope, he's in the film for only eight minutes.

實際的螢幕時間來看，達斯維達在《曙光乍現》裡出現的時間少得驚人，他只出現在電影裡八分鐘。

In Empire Strikes Back, he's in it for 12min, and

在《帝國大反擊》裡，他出現了十二分鐘，

in return of the Jedi, he tops out at about 14 minutes on screen.

而在《絕地大反攻》裡，他螢幕上的時間最多大概十四分鐘。

Put these all together and Darth Vader, maybe cinema's most iconic villain, if not character in general, flashed across movie screens for a total of only 34 minutes.

把這些加起來，達斯維達，或許是影史上最具代表性的反派，如果不是所有角色中最具代表性的話，總共只出現在電影螢幕上三十四分鐘。

In this video, I want to take a look at Vader's visual footprint in the original trilogy to see if we can't locate what gives him this iconic status in such a short time.

在這支影片裡，我想來看看達斯維達在原始三部曲中的視覺呈現，看看我們能不能找出，在這麼短的時間內，是什麼讓他擁有如此標誌性的地位。

In episode four, Darth Vader is only in 6% of the movie, and

在第四集裡，達斯維達只佔了電影的百分之六，

his scenes are striking in how the charact fades into the background, both narratively and visually.

他的場景很引人注目，因為這個角色在敘事和視覺上都融入了背景之中。

For the bulk of Episode four, Vader is portrayed as the subordinate of Grand Moff Tarkin, so a good portion of his screen time has him in the background or off to the side, cut off, sometimes out of focus.

在第四集的絕大部分時間裡，維達被描繪成葛蘭特·莫夫·塔金的下屬，所以他大部分的螢幕時間都是在背景裡，或是在旁邊，被裁切掉，有時失焦。

即使是直接拍攝他的時候也是。

Vader's black uniform fades into the shadows of the set, and

維達的黑色制服融入了場景的陰影中，

there's a noticeable lack of separation between foreground and background.

前景和背景之間明顯缺乏區隔。

Now, it's hard to say how much of this is a narrative or thematic choice and how much is down to the constraints of filming.

現在，很難說有多少是敘事或主題上的選擇，有多少是拍攝限制造成的。

All of Darth Vader's scenes in Episode four, with the exception of the first, take place in or around the Death Star.

除了第一場戲之外，達斯維達在第四集的所有場景都發生在死星內部或周圍。

Gilbert Taylor, the cinematographer, was famously annoyed with filming these scenes because he didn't like the black and gray sets made by John Barry, which provided little opportunity for targeted lighting.

攝影師吉爾伯特·泰勒對拍攝這些場景感到非常惱火，因為他討厭約翰·貝瑞製作的黑灰色場景，這些場景幾乎沒有機會進行重點打光。

Taylor was actually forced to cut holes in the sets and outfit them with quartz lamps that lit the environment evenly for flexibility and shooting flexibility, but

泰勒實際上被迫在場景上挖洞，並裝上石英燈，均勻地照亮環境，以便靈活拍攝，但

This is not to say that Darth Vader doesn't make an impact in Episode four.

這並不是說達斯維達在第四集沒有造成影響。

I mean, this is the film that launched the whole thing.

我是說，這部電影開啟了整個系列。

And visually, the movie does make a bold statement out of the Gate by introducing Vader right away as a menacing jet black presence against the white interior walls of a rebel spaceship.

而且在視覺上，這部電影一開始就大膽地呈現了黑色的達斯維達，對比於反抗軍飛船的白色內牆，營造出令人畏懼的形象。

But I do think that there's more iconic Vader imagery to come.

不過我認為還有更多經典的達斯維達形象即將出現。

You see that right away in Episode five, the Empire Strikes Back, the first time Vader appears on screen, you get this iconic helmet shot from behind.

你在第五集《帝國大反擊》中馬上就能看到，達斯維達第一次出現在螢幕上時，你會看到一個從後面拍攝的經典頭盔鏡頭。

What's cool about this shot is that it's essentially black on black.

這個鏡頭很酷的地方在於，它基本上是黑上加黑。

And yet director Irvin Kirschner and cinematographer Peter Krzychi find a way to make Vader stand out with reflections and texture and shape all throughout the film.

然而導演厄文·克許納（Irvin Kirschner）和攝影師彼得·克里奇（Peter Krzychi）卻能透過反光、紋理和形狀，讓達斯維達在整部電影中脫穎而出。

They find ways to key into the elemental quality of Vader as an archetypal representation of evil, and

他們找到方法來突顯達斯維達作為邪惡原型象徵的本質，

they up the ante on the work done in Episode four in that movie.

並在第四集的基礎上更上一層樓。

Vader's helmet, for example, is dirty, smudged, used.

例如，達斯維達的頭盔是髒的、有汙漬的、用過的。

This might have something to do with Lucas desire to have a naturalistic documentary feel to the movie, something he often argued about with Gil Taylor.

這可能與盧卡斯希望電影具有自然紀錄片風格的願望有關，這是他經常與吉爾伯特·泰勒爭論的。

But in Empire, the helmet is as smooth as volcanic glass and always spotlessly clean, so that it features these fat white reflections which highlight its shape.

不過在《帝國》裡，頭盔就像火山玻璃一樣光滑，而且總是乾乾淨淨的，所以會出現圓潤的白色反光，突顯出它的造型。

Kirchner and Szaszisky seemed to understand that visually, Vader increased in dramatic weight the less naturalistic and more pure that he seemed.

克許納和薩斯奇斯似乎明白，從視覺上看，達斯維達越是超現實、越是純粹，就越顯得戲劇張力十足。

After all, the most iconic symbols in our culture are the ones that can be boiled down to their basic shape and still be instantaneously recognizable.

畢竟，我們文化中最具標誌性的符號，都是那些可以簡化成基本形狀，卻仍能一眼認出的。

Episode 5 takes advantage of this with the masterful use of silhouette.

第五集就巧妙運用剪影，達到了這一點。

It's in these moments that Vader transcends his role as a character in a movie and becomes a symbol for something much deeper and much more universal.

正是在這些時刻，達斯維達超越了電影角色的身分，成為了某種更深層、更普世的象徵。

The Empire Strikes Back, I think, is inventive with its Darth Vader imagery in a way that both of the other films aren't as much.

我認為《帝國大反擊》在達斯維達的形象運用上很有創意，這點是其他兩部電影都比不上的。

With only 12 minutes of screen time, the filmmakers do a lot to add to the mystique of the character.

儘管只有 12 分鐘的戲份，但電影製作人卻做了很多努力來增加這個角色的神祕感。

And the film features those images of Vader that have seared themselves on to my mind from the very first time I watched it.

而且電影中呈現了那些達斯維達的畫面，從我第一次看的時候就烙印在我腦海裡了。

Episode 6, Return of the Jedi, largely holds on to that pristine look from Empire.

第六集《絕地大反攻》，基本上延續了《帝國》那種純淨的風格。

It even copies some of the Empire shots exactly.

它甚至還精確複製了《帝國》中的一些鏡頭。

But overall, Jedi is less inspired when it comes to Darth Vader's cinematography.

不過總體來說，《絕地大反攻》在達斯維達的鏡頭運用上就沒那麼有靈感了。

He often looks flat against backgrounds, and

他常常看起來平淡無奇，背景也一樣，

the framing and lighting isn't nearly as compelling as Kirschner's work On Episode five.

而且構圖和打光遠不如克希納在第五集裡的表現來得吸引人。

Kirchner was so devoted to his own vision that he didn't shoot master shots, which meant that Lucas would have to edit the scenes roughly how Kirschner Kushner intended them.

克希納非常堅持自己的想法，甚至沒有拍攝全景鏡頭，這意味著盧卡斯必須按照克希納的意圖來剪輯這些場景。

By most accounts, Lucas hired Richard Marquand as a sort of workingman's director for Episode six, somebody who could bring the film in on time and within budget and give Lucas enough options to construct the film in the edit.

大多數說法是，盧卡斯找來李察·馬昆德擔任第六集的導演，他比較像是那種能準時且在預算內完成電影的實幹型導演，並且能給盧卡斯足夠的素材在剪輯時建構電影。

As a result, Episode six lacks the character work that was a signature of Kirschner's style.

結果，《絕地大反攻》就少了克希納風格裡標誌性的角色塑造。

What Jedi does give us is that famous final scene where Darth Vader is finally unmasked.

《絕地大反攻》確實給了我們那個著名的最後場景，達斯維達終於被揭開面具。

It's a moment that brings the archetype down to earth.

那一刻讓這個原型人物變得更貼近現實。

The actual face of evil is just the face of a broken man, more pathetic than anything, and

邪惡的真實面貌只是一個破碎男人的臉，比任何東西都更可悲，

從這個角度來看，非常有人性。

Of course, the legacy of Darth Vader isn't all in the visuals.

當然，達斯維達的傳奇不全在於視覺呈現。

The writing, the costume, and James Earl Jones vocal performance contribute hugely to the character's continued faint.

劇本、服裝，以及詹姆斯·厄爾·瓊斯的配音，都大大地鞏固了這個角色的持續魅力。

就連他的呼吸聲都極具標誌性。

when all these things are wrapped in the right image, the effect can be mythic.

當所有這些元素都被包覆在正確的影像中時，其效果就能達到神話般的境界。

What's amazing is that Lucas and Kirschner achieve this in just a handful of minutes, and

最令人驚奇的是，盧卡斯和柯許納僅在短短幾分鐘內就達成了這點，

Hey everybody, thank you so much for watching.

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本集節目由 Squarespace 贊助播出。

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如果你想架設網站，而且希望過程超級簡單，Squarespace 有許多美麗、屢獲殊榮的設計師模板可供選擇，讓整個過程變得非常簡單。

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它有 24 小時的客服，不用升級，不用安裝，也不用任何套件。

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而且選擇你的網域名稱也非常簡單。

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你可以到 squarespace.com 開始免費試用，如果你使用優惠代碼 Nerdwriter，首次購買可以享有九折優惠。