臺灣動畫影展的發展現況與趨勢探討

本研究以鹿特丹學者de Valck & Loist於電影影展研究中歸納的歷史、政治、藝術、經濟、團體與觀眾等六個面向作為討論的主架構，並對照著四大國際動畫影展的軌跡，來邀請關渡國際動畫節與臺中國際動畫影展的策展人進行深度訪談，以瞭解台灣動畫影展的過去與現在。比對四大國際動畫影展的脈絡後發現，國內外動畫影展最大的相異在於「國家本身的動畫藝術環境」與「舉辦年資」，動畫藝術環境的養成需要時間，也需要正確的方向；透過走入偏鄉小學、合作放映等方式，將動畫影展得來不易的資源繼續向外延伸，讓民眾有更多的機會接觸動畫影展並認識動畫藝術。動畫影展的影響力取決於影展的定位與目標，影展與影展之間的交流及合作也會讓影展的定位更加明確；動畫影展可以藉由獎項與節目設計來突顯影展的核心精神，並以在全球影展模式中找出地方的特質與差異，來取代對於大型影展的仿效與學習。關渡國際動畫節與臺中國際動畫影展皆被嵌入在全球動畫影展的網絡當中，動畫影展的發展必然會需要隨著時間不斷地檢討與修正，但是動畫作為藝術表現媒介的本質卻從未改變。藝術與經濟都是動畫影展的一部份，影展為動畫作品創造價值，也為動畫專業工作者帶來機會，並且將動畫藝術推廣到世界的每一個角落。

關鍵字

動畫影展；影展；動畫藝術；關渡國際動畫節；臺中國際動畫影展

並列摘要

Based on de Valck & Loist’s perspectives of film festival six axis: history, politics, art, economic, institution, and audiences, this study conducted an in-depth interview research with the curators of Kuan Du International Animation Festival and, Taichung International Animation Festival, as well as comparisons with Festival International du Film d'Animation d'Annecy, Svjetski festival animiranog filma, Ottawa International Animation Festival, and Hiroshima International Animation Festival, in order to explore the history and future of Taiwan Animation Film Festival. The comparisons led us to that the main differences between international and domestic animation festivals were “developing” and “persistence”. Developing an animated art environment for people easy to join animation festivals, and persistence to recognize the animation art by promotion into schools, cooperative screening, etc. The influence of animation festivals depends on the positioning and goals, which could be distinguished through the cooperation among the festivals. Instead of the imitation of international festivals, animated festivals highlight the local feature and core spirit of the exhibition through awards and event planning. Furthermore, the essential parts of animation festival are art and economic, which create value for animation and opportunities for animation professionals, and open a portal for people in the world to enjoy animation art.