文化產品的混雜（hybridization）與全球化：以迪斯奈版《木蘭》與《臥虎藏龍》為例

Globalization and Hybridization in Cultural Production: A Tale of Two Films

汪琪(Georgette WANG) ； 葉月瑜(Emilie YY YEH)

《傳播與社會學刊》 3期 (2007/04) Pp. 175-192

https://doi.org/10.30180/CS.200704_(3).0011

摘要

文化產業的全球化與地方化使混雜已經成為文化生產的一個趨勢。然而混雜並不是單純將文化元素混雜或綜合成一個沒有特色的集合體。混雜的過程當中，文化經常產生新的形式與連結。《臥虎藏龍》與《木蘭》是兩部改編自華文文本、並風行全球的影片。本研究以這兩部影片為例，展示混雜的複雜性、以及其對於文化全球化的意涵。研究發現「去文化化」、「文化內涵空洞化」、以及「再文化化」是混雜的特殊手法，而製片的背景、目標與行事風格也深刻影響產品特色。

關鍵字

文化內涵空洞化 ； 《臥虎藏龍》 ； 去文化化 ； 全球化 ； 混雜 ； 《木蘭》 ； 再文化化

並列摘要

Hybridization has become part of an ongoing trend in cultural production with both the globalization and localization of the culture industry. However, hybridization is not merely the mixing and synthesizing of different elements that ultimately form a culturally faceless whole. This study looks at two globally popular films that were adapted from Chinese works, Crouching Tiger, Hidden Dragon and Mulan, as examples to illustrate the complex processes of hybridization, and the implications that they have for the debate on the globalization of culture. This study has found that ＂deculturalization,＂ ＂aculturalization,＂ and ＂reculturalization＂ can be used to characterize the process of the hybridization of cultural products, and that often the producer, with his/her background, aspirations and work style, has a key role to play in deciding how these features are organized and manifested.

並列關鍵字

aculturalization ； Crouching Tiger ； Hidden Dragon ； deculturalization ； globalization ； hybridization ； Mulan ； reculturalization