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    Title: 從<<海角七號>>到<<艋舺>>的媒體論述 : 分析臺灣電影生產文化的轉變
    Other Titles: The media discourse from "Cape no. 7" to "Monga" : analysis of changes in the culture of film production in Taiwan
    從海角七號到艋舺的媒體論述 : 分析臺灣電影生產文化的轉變
    Authors: 杜胤廣;Du, Yin-Guang
    Contributors: 淡江大學大眾傳播學系碩士班
    楊明昱;Yang, Ming-Yu
    Keywords: 文化中介者;媒體論述;文化場域;電影評論;海角七號;國片復興;cultural intermediaries;Media discourse;Cultural Field;Cinema-Critique;Cape-No.7;Taiwan-Movie-Renaissance
    Date: 2012
    Issue Date: 2013-04-13 11:47:05 (UTC+8)
    Abstract: 2008年《海角七號》創下台灣電影票房奇蹟後,陸續帶動起近年來的電影消費風潮,並引起主流媒體的持續關注,如《不能沒有你》與《艋舺》。不僅在許多學者與民眾的迴響之下,開啟了國內電影票房奇蹟的話題,更可在這股現象中發現觀眾對台灣電影的認同與共鳴。重要的是,作為文化中介者的記者、影評學者專家等知識份子,不斷在平面、電視與網路等各大媒體空間中引起相當程度的評論與反省,在整個社會環境與娛樂的表象下中介了「國片復興」現象中的一股論述。從評論中表達個人想法與評價,也給予電影生產與文化政策上的建議之外,都開始正視台灣電影所帶來的文化、經濟價值。媒體不僅呈現台灣電影消費問題,也包含如何在此論述的過程中扮演實踐場域的角色,並藉由這群文化中介者的身分與發言權力,中介了台灣電影在生產觀念上的對話,也重塑了台灣電影生產文化上的可能。

    觀察過去台灣電影與媒體之間的關係可以發現,早期台灣電影不只受到國家機器的監控,甚或當時的平面媒體與電影雜誌都在尚未解禁的年代中處於言論自由壓迫的社會氛圍。隨著70年代社會改革運動與文化藝術的反思潮流,過去習得電影知識的影評學者開始不斷藉由電影雜誌引薦西方電影的美學知識與思維,開啟了他們對國內電影的反思言論。80年代新電影的出現,媒體的角色就中介了影評學者對當時台灣電影的批判性言論,在媒體場域中展開作者藝術電影與觀眾娛樂電影之間的言論鬥爭。而認同新電影文化自覺的創作者與影評人也相對造成市場品味的嚴重分歧,並創造出台灣電影史上的革命性力量。這股力量也不斷延續影響不同世代的創作者與影評人,甚或不只是在電影評論性雜誌占據媒體場域,也開始在台灣各個電影文化場域。從80年代各自成立的電影學會團體、中時晚報電影獎到不同大專院校的電影教育,及至90年代的影展風潮,佔據了部分台灣電影文化機構,不論是創立教育機構,還是進入影展行政、評審與電影政策決策工作,都再再顯示文化中介者的實踐行動。不過,面對好萊塢與亞洲電影的全球化市場競爭之下,台灣電影更顯得趨於弱勢,每況愈下,最後2003年更面對了年產量不到10部電影的窘境。

    然而,台灣電影的生存困境在新一代創作者與文化中介者共同培養的資本上共同尋求出路時,也發現到影評學者與記者等新一代中介者都面對到相同的工業結構困境,甚至無法建立一套完善的評論機制,但在《海角七號》後的媒體空間中都各自擁有了極大的評論空間與身分權力,並可能改變台灣電影的生產文化。
    After in 2008 "Cape Seven" set the record of the Taiwan movie box office miracle, led the recent years movie to expend the unrest one after another, and aroused the mainstream media continually interest, like "No puedo vivir sin ti" and "Monga". Not only in many scholars and under populace''s echoes, has opened the domestic movie box office miracle topic, may discover the audience in this phenomenon to the Taiwan movie approval and the sympathetic chord. More importantly, took knowledge individual contributions and so on cultural intermediary reporter, movie criticism scholar, unceasingly in the plane, the television and the network and so on in each big media space cause the suitable degree commentary and the introspection, intermediary “Taiwan Movie Renaissance” in a phenomenon elaboration in the entire social environment and under the entertainment representation. They besides express individual idea and the appraisal from the commentary, gives in the movie production and the cultural policy suggestion, all starts the culture, the economic value which faces up to the Taiwan movie to bring. Not only the media presents the Taiwan movie to expend the question, also how contains acts the practice field territory in this elaboration process the role, and because of this crowd of cultural intermediary identity and speech authority, intermediary Taiwan movie in production idea dialogue, also remoulded the Taiwan movie to produce in cultural the possibility.

    The observation passes between the Taiwan movie and the media relations may discover, not only the early Taiwan movie receives the state apparatus the monitoring, even the plane media and the movie magazine then all not yet were lifting a ban in the age was in the freedom of speech oppression the social atmosphere. Along with the 70''s social reform movement and the cultural art reconsidering tidal current, movie criticism scholar who the custom results in the movie knowledge in the past starts unceasingly to recommend the Western movie because of the movie magazine esthetics knowledge and the thought, has opened them to the domestic movie reconsidering opinion.

    The 80''s Taiwan New Cinema appearance, the media role on the intermediary movie criticism scholar to at that time the Taiwan movie criticalness opinion, has launched between the author art movie and the audience entertainment movie opinion struggle in the media field territory. But approves the Taiwan New Cinema culture aware creator and the movie critic also relatively creates the serious difference which the market savors, and creates in the Taiwan movie history the revolutionary strength.

    This share dividend quantity also unceasingly continues the influence different generation not only creator and movie critic, even in movie critical magazine hold media field territory, also starts in the Taiwan each movie culture field territory. From 80''s respective establishment movie academic society association, when the evening news movie prize to the different universities, colleges and institutes movie education, until the 90''s film preview unrest, occupied the part Taiwan movie culture organization, no matter establishes the educational institution, enters the film preview administration, the appraisal and the movie policy decision-making work, all again and again demonstrates the cultural intermediary practice motion. Facing Hollywood and under the Asian movie globalization market competition, the Taiwan movie appears tends to the weak trend, becomes worse and worse, finally in 2003 has faced the annual output not to 10 movie predicaments.

    However, the Taiwan movie survival difficult position when which the new generation of creator and the culture intermediary raise together the capital seeks the outlet together, also discovered movie criticism scholar and reporter and so on the new generation intermediary all faces arrives the same industry structure difficult position, even is unable to establish a set of perfect commentary mechanism, but in after media space all respectively had the enormous commentary space and the identity authority in "Cape No. 7", and possible to change the Taiwan movie the production culture.
    Appears in Collections:[大眾傳播學系暨研究所] 學位論文

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