由魯曼的社會系統觀點探討台灣電影新進者之行動與意義：以CatchPlay為例

本文採取「系統理論」（Systems Theory）觀點，透過對CatchPlay個案的觀察，試圖指出CatchPlay在電影系統演化上的意義。本文指出五點結論，首先，外在環境中的經濟系統對台灣電影產業具有優先決定力量。其次，CatchPlay說明了環境與系統共同創造內在結構與規則。第三，CatchPlay說明了新進者透過科技、資金以回應外部環境，決定獨特系統形式。第四，經濟的損益平衡使系統形成封閉。最後，CatchPlay複雜的功能分化，回應高度現代性社會的常態，也形成未來台灣電影的參照來源。

關鍵字

威望國際；電影產業；系統理論；自我生產；自我指涉

並列摘要

This article employs Niklas Luhmann's 'Systems Theory' to examine the case of CatchPlay, in order to reveal its implication in the evolving Taiwan cinema industry. In this study five conclusions can be drawn: firstly, economic subsystem of the outside world, among other elements and influences, is most decisive particularly to Taiwan cinema industry. Secondly, the example of CatchPlay represents how the environment and system can work together to establish the internal structure and rules within a larger system. Thirdly, CatchPlay demonstrates that a new market player can now connect to its external environment and develop a unique form of system by adopting the two powerful forces, technology and capital in the system. Fourthly, the cause of profit achievement and financial leverage is very likely to force CatchPlay to become a close system of its own. And finally, CatchPlay's complex functional differentiation is not only echoing projecting the critical condition of a contemporary hypermodern society, but it is also providing a new source that the future Taiwan cinema can easily reference to.