台灣流行文化現象中數位影像商品化之建構

CONSTRUCTING THE COMMERCIALIZED DIGITAL IMAGES IN THE POPULAR CULTURE OF TAIWAN

尤蒔萱(Shih-Hsuan Yu)

指導教授 ： 王德育

元智大學/人文社會學院/藝術管理研究所/碩士(2006年)

摘要

當人類進入了科技發達的世紀，新的影像文化會提昇人們的知識和對世界的體驗，或者也擴展我們娛樂、幻想和經驗的範圍，同時創造新的群居模式並且連接新的社群種類，甚至還提供人們增加對來自世界中危險的屏障與保護。對人們而言，影像的取得已非難事，但是在進入流行的漩渦中，影像所扮演的角色不僅侷限於描述事物，而是更進一步的藉由數位化的過程，對流行產生引領的作用，並且左右商品化的方向。然而數位影像的品質良莠不齊，常會成為數位影像商品化的致命傷。故本文研究認為唯有建構出流行文化中數位影像與其商品化的品質與藝術化，流行文化才得有發展的前景。

本文則分為三個部份予以論述。第一部份先針對數位影像和流行文化的定義進行介紹，並且探討數位影像、流行文化與消費三者在資本社會中產生的變化與對應關係。第二部份在探討流行文化、數位影像與網路世界中相輔相成之效，並且探討數位影像如何利用網際網路這項媒介達到成為流行文化中的一環。第三部份則就如何提升流行文化中數位影像之品味與開拓商品化的途徑模式加以探討，並解析與建構國內流行影像商品化之模式。

關鍵字

數位影像 ； 流行文化 ； 波士頓網路藝術文本藝術空間 ； 商品化模式

並列摘要

As the mankind enters the century of science and technology, the culture of new images helps promote people's knowledge and experience of the world, and expand the scope of amusement, imagination and experience. It also helps create a new gregarious way and connect new types of community, and even provide protective screens and protections for people to face the increasing dangers from the world. To people nowadays, it is not difficult to obtain images; upon entering the swirl of vogue, however, the role of imagery no longer confines itself to portraying objects, but, via digitization, assuming a guiding function in forming the popular fashion and the direction of commercialization. However, as the digital image is uneven in quality, it often inflicts severe damages to the commercialization of the digital images. This study proposes that, only through constructing the artistic quality of the commercialized digital images, can the popular culture prevail.

This thesis comprises three parts. The first part discusses the definitions of the digital imagery and the popular culture, and explores the relationship among the digital imagery, the popular culture and consumption to examine their interactions in the capital society. The second part investigates how the popular culture, digital imagery and the network world complementing one another; a special attention is paid to how the digital images become a part of the popular culture through the internet network. The third part not only explores the issue of how to promote the artistic taste of the digital images in the popular culture, but also analyzes several modes of commercializing the digital imagery; the author also analyzes the modes of commercializing the digital images in Taiwan and makes several constructive suggestions.

並列關鍵字

Digital images ； Digital imagery ； Popular culture ； Boston Cyberarts Hyper Art Space ； Modes of commercializing.

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