Action！-臺灣電影導演的流動與行動

Action！ A Research on the New Generation Film Directors after 2000 in Taiwan

鄭淳予(Chun-Yu Cheng)

指導教授 ： 魏玓

國立臺灣大學/社會科學院/新聞研究所/碩士(2011年)

https://doi.org/10.6342/NTU.2011.02515

摘要

二○○八年，一連三部叫好又叫座的臺灣電影問世：《九降風》、《囧男孩》、《海角七號》，且分別都是由首度拍攝劇情長片的「新銳導演」完成；進一步檢閱資料會發現，像這樣的「新銳導演」在二○○四年後大量增加。若台灣電影產業一直如同表象上與過去研究所揭露的不健全、不景氣，屢有新導演投身其中的現象勢必值得用另一種觀察角度論證分析。

本研究提出從主體立場出發的分析架構，將前述新銳電影導演視為行動者，切割其主觀心態與客觀條件兩面向，一來呈現他們因什麼樣的主客觀處境而在產業間流動、或發動行動；二來參照臺灣電影產業發展史，解釋新銳導演群起的原因，以及對臺灣電影帶來的反饋。

研究發現，電影導演基於目的理性或價值理性得以發揮主體能動力，克服客觀條件之匱乏、完成電影作品；此外，一名電影導演必須經歷學習、養成、集資、製片、發行、映演等階段，當階段與階段之間沒有充足的客觀條件支持，主體則形成流動與行動交互作用而成的軌跡。本研究期能透過對主體立場的初步分析，給予政策部門或後續研究新的參考立基。

關鍵字

電影導演 ； 行動者 ； 社會行動 ； 結構 ； 臺灣電影產業

並列摘要

"Winds of September", "Orz Boyz", "Cape No.7" were among the most popular Taiwanese films released in 2008. All three directors of these films are so-called ‘rookie directors’ who had never made feature film before. Some data revealed that there are continuously young directors making their debut film every year in Taiwan and the number has been increasing since 2004. Why were these rookie directors willing to join an industry which is considered to be unsound and under decline? This study is an attempt to analyze this worth noting phenomenon from a new angle different to the previous researches.

This study proposes an analysis from the perspective of the Subject and regards these fresh directors as social agents. Both the subjective and objective aspects of the case directors’ actions are collected and analyzed. On the one hand, this study tries to present the external environment and the internal subjectivity which made them keep staying in and moving around in the film industry or insist on their actions. On the other hand, to review the history of the development of recent Taiwanese films, and to explain the reason of fresh directors rising in such a short time, and the effects they caused.

As the results, the agency of film directors may be derived from their instrumental reason or value reason, so they would overcome the insufficiency of objective conditions and completed their first film. Besides, a film director has to go through all the phases of film-making, including learning, training, fund raising, production, distribution, and exhibition. By observing the movement of these directors, it can be concluded that while there is no sufficient external support at any one of the phases, the directors would either move to other fields or stay on and struggle against the predicament. The study is expected to give the Authority policy suggestions and researchers base and reference for further study and finally, to raise the importance of human resources in film industry.

並列關鍵字

Film directors ； Subject ； Social actions ； Structure ； Taiwan film industry

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