本研究旨在瞭解日本觀眾如何觀看跨國合製台日布袋戲-東離劍遊紀。
布袋戲是極具象徵性的台灣民俗藝術。其中霹靂布袋戲的劇集系列在台灣本土產製影音娛樂中頗負盛名。目前在台灣有約百萬名的觀眾。
台灣方在製作東離劍遊紀的過程中提供木偶及操偶技術。日本方面則負責音樂、聲優(配音)、劇本與角色武器造型設計。在本劇中，由於大量加入日本元素，整體而言是以布袋戲日本化的方式呈現。
同時在本研究中也將了解日本與台灣的關係對台灣文化與觀眾造成的影響及現象。並探討台灣文化與日本元素結合後，以台灣本土民俗藝術為基底的作品能否成功在日本市場創造熱潮。
本研究將以文化擬仿、文化折扣、全球在地化等理論，檢視此次台灣布袋戲的日本化策略。
並深度訪談觀看東離的日本觀眾以及參考引述有觀看東離的日本網友評論，以了解在日本觀眾眼中，東離劇中呈現的文化差異是何樣貌。

This research aims at understanding how Japanese audiences perceive glove puppetry by examining the Taiwan-Japan co-production Thunderbolt Fantasy.
Glove puppetry is a folk art of Taiwan. Pili (霹靂, pīlì) glove puppetry serials are one of the most popular forms of video entertainment produced domestically in Taiwan. Overall, there is an audience of around one million in Taiwan watching Pili puppetry serials.
During the process of producing Thunderbolt Fantasy, the Taiwan-based Pili company provided the puppets and puppeteering technique, while the music, character voices, script and character and weapon design were created by Japanese staff. A great number of Japanese elements were added and thus localized Taiwanese glove puppetry into Japanese culture.
In the meanwhile, this research will discuss the historical tie between Taiwan and Japan and its impact on Taiwanese culture and audiences. The research will also probe into whether this transnational co-production based on Taiwanese folk art and combined with Japanese elements can create a buzz in the Japanese market.
Theories such as cultural mimicry, cultural discount, and glocalization will be applied to this study’s examination of the Japanese localization strategy in this puppetry co-production.
This research will conduct in-depth interviews and cite netizens’ comments regarding local Japanese audiences of Thunderbolt Fantasy in order to understand the cultural differences reflected in audience perception.

Acknowledgement i
摘要 ii
Abstract iii
Table of Contents iv
List of figures vii
List of tables x
1. Introduction 1
1.1 Research Motivation 1
1.2 Research Background 3
1.2.1 Influence of Japanese Kominka Policy in Taiwan 3
1.2.2 The hari craze in Taiwan 5
1.2.3 ACG market in Japan 6
1.3 Research Goals & Research Questions 8
2. Literature Review 10
2.1 Historical Development of Taiwanese Glove Puppetry 10
2.2 Pili Puppetry (Pili International Multimedia Company)
18
2.3 Transnational Culture Export and Its Related Theories
26
3. Research Method 29
3.1 Individual interviewing 29
3.2 Research Setting and Procedure 30
4. Analysis on Japanese (Netizens’) Audiences’ Reviews of Thunderbolt Fantasy 33
5. In-depth Interview of Japanese TBF Audiences 56
5.1 Impression on TBF 62
5.2 Features of Taiwanese Glove Puppetry 68
5.3 Cultural Elements in TBF 77
6. Research Findings, Discussions and Limitations 96
References 104
Appendix 111
1. Trends in Japanese Animation Market 111
2. Japanese Netizens’ Reviews on Amazon JP TBF BD Sale Merchandise Pages 112
3. Japanese and Taiwanese Elements in Thunderbolt Fantasy
125
4. Abstracts of the Interviews on Japanese TBF Audiences
137

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