文化創意產業中的權力結構-以台灣電影產業為例-

The Power Structure of Cultural and Creative Industries

葛柔淵(Rou-Yuan Gee)

指導教授 ： 阮慶岳

元智大學/資訊學院/資訊社會學碩士學位學程/碩士(2012年)

摘要

文化創意產業由於具有提升文化與產業附加價值等特性，成為各先進國家爭相發展的重點產業，研究文化創意產業也成為目前刻不容緩的課題，綜觀目前有關文化創意產業之研究，泰半是由政策面或經濟面出發，因此本文藉由權力的角度切入，以期能從不同的視野進行探究，並選定2007年後台灣電影產業作為研究主軸，一方面檢視近年來國片復甦之現象，另一方面則探討製片制對台灣電影產業之影響。

本研究先就文化創意產業發展之起源與權力結構進行探究，由文化迴圈、產業鏈與文化產製階段等論述，探討出文化創意產業之權力結構，將其分為導演、投資者、媒體、政府、藝術評論人以及消費者等利益關係人，再利用權力的角度來分析利益關係人各自的角色及彼此間權力流動之關係，希冀能從中釐清台灣電影產業之脈絡。

研究結果指出，台灣電影產業的主要權力已由生產者端流向消費者端，導演、政府的權力有所流失，有流向投資人與消費者端的趨勢。此外，台灣電影產業主要建立在三個權力面向上：即資金、專業以及政府，而權力之目的並非限制，而是在增進主體之自由，而這三面的權力需倚賴製片作為媒介，讓整個權力結構能夠順利運作，達成藝術的自由與解放。

關鍵字

文化創意產業 ； 權力

並列摘要

Owing to the fact that cultural and creative industries possess features of promoting cultural and industrial values, they have become development focal areas for the advanced countries. Thus researches on such industries have also become a critical issue currently. Most of these researches nowadays, however, are from political or economic point of view. This study will address the issue from a different perspective – power structure, hoping to explore from a different angle. We have chosen Taiwan’s film industry after 2007 as our research pivot. We not only examine the revitalization of the film industry in Taiwan but also study how the movie making policy has impact on it.

In this study, we first look at the origin and power structure of cultural and creative industry. By addressing issues on cultural cycle, industry chain, and culture producing stage, we hope to elicit the power structure of cultural and creative industry. This structure consists of directors, investors, the media, the government, art critics, and consumers as its stakeholders. By analyzing their roles and the power flow among these roles, we have hoped to clarify the sequence of ideas in Taiwan’s film industry.

The study indicates, the main role of power structure in Taiwan’s film industry has been drawn from production end to consuming end. While the power of directors and the government is diminishing, it is increasing for the investors and the consumers. In addition, the power structure founded on Taiwan’s film industry is three-folded: funding, profession, and the government. However, the purpose of the power is not to set limits, but to promote the freedom of its entities. The three-folded power structure needs film production as its catalyst, easing the way out for the whole power structure and attaining the freedom of liberal arts.

並列關鍵字

Cultural and Creative Industry ； Power Structure

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