從在地走向全球：台灣電影全球化的歷程與類型初探

From Local to Global: A Critique of the Globalization of Taiwan Cinema

魏玓(Ti Wei)

《台灣社會研究季刊》 56期 (2004/12) Pp. 65-92

https://doi.org/10.29816/TARQSS.200412.0002

摘要

在全球化的趨勢下，傳播媒介領域逐漸形成一個由跨國媒介集團所主導的全球媒介市場體系(global media market system)。而長久以來主控世界電影市場的好萊塢，已成爲跨國媒介集團的一部分，也在這個全球媒介市場體系的架構上，主導著一個發展中的全球電影市場體系(global film market system)。面對這樣的全球電影條件，台灣電影市場被以美國電影為主的外來電影壟斷，電影工業基礎接近崩盤，但是卻在這樣貧瘠的環境中，發展出幾種與全球電影市場體系結合的「生存之道」。第一種類型從1980年代統出現，以產品區隔形式獲得外國資金並對外出口的本地藝術或作者電影，侯孝賢、蔡明亮等導演為代表。第二種類型是以勞動力的形式進入核心的好萊塢電影體系，以導演李安為例。第三種類型則是體現承包生產形式，以陳國富導演的《雙瞳》為例。這三種「從在地走向全球」的模式，各自演化出相異的生產過程和創作風格；但是其共同點是必須在一定程度上，接受外國電影體系和市場的結構限制，而且他們對於台灣本地電影工業基礎與電影文化的生存和發展，也是負面影響多於正面。因此，尋求在全球化趨勢下台灣電影工業和電影文化的生存之道，還必須有更基進的思維。

關鍵字

全球化 ； 電影全球化 ； 台灣電影 ； 全球電影市場體系

並列摘要

In the global age the world communications are forming into a global media market system of which the center is a group of transnational media conglomerates. The long-time dominating force in the world film market, Hollywood majors, has become a part of these multi-media conglomerates. They thus continue to play a dominating role in developing a global film market system. Being in this global film market system, Taiwan's film exhibition market is dominated by imported products (mainly American films) and the film industry base nearly collapses. Several models of 'survival' however have been developed in coping with the global film market dynamics. The first type is locally-made art or auteur film as a sort of differentiated product which is internationally financed and oriented. Hou Hsiao Hsien and Tsai Ming Liang are two major representative directors of this type. The second type is to enter into the center of Hollywood system as labor force. Ang Lee is the prominent and the only example by now. The third type is locally-made and Hollywood-financed film. The film-making team is as subcontractor of Hollywood and the example is Double Vision directed by Chen Kuo Fu. These three types of 'from local to global' evolve respectively into very different creating processes and styles. One of the common points among them is that they are constrained, to some extent, by the logic of foreign film systems and markets. Partly because of that, they contribute Taiwan's film industry and film culture with negative effects rather than positive ones. To seek for the answer of reviving Taiwan cinema in the global age, therefore, a more radical thinking and practice is necessary.

並列關鍵字

globalization ； the globalization of cinema ； Taiwan cinema ； global film market system

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