儘管藝術電影迷能在藝術電影消費場域中展現閱聽人的主動性，但是結構的限制仍在，亦即場域構成的物質基礎和符號系統會規範著閱聽人的行動實踐。同時，透過社會場域和文化場域之間異形同體的轉換邏輯，使得經濟資本和文化資本將被集中鎖定在不均等的分配管道中，而導致台灣電影消費階層化的現象。 The thesis aims to understand and analyze the formation of the consumer culture of art film in Taiwan as well as the social characteristic and cultural practice of art film fans.
Additionally, based on a critical review on the audience research tradition in communication studies, the thesis takes contemporary French sociologist Bourdieu’s cultural theories, of which the research approach and analysis framework effectively combine structure/objective aspect and agent/subjective aspect of the human society, as an appropriate theoretical and analysis tool.
The evidence illustrates that cultural practice of art film fans is closely linked with the structure and related fields in the social space. They possess dominant position in the field of film consumption by developing a set of symbolic structures through their fan practice.
Even though art film fans seem to act freely in the field of art film consumption, the limits set by structures still exist. The material base and symbol system, which constitute the field, will to some extent condition the fan’s actions. Meanwhile, by the inter-exchangeable logic of the homology between social field and cultural field, the economic capital and cultural capital are distributed unequally to social agents in different positions and that therefore causes stratification of film consumption in Taiwan.
