要熱鬧，也要有文化——舞台車的跨域變身與場面塑造

莊曉萍

doi:10.6342/NTU201900928

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要熱鬧，也要有文化——舞台車的跨域變身與場面塑造

The Decent Festivity: The Transformation of Stage-Trucks and Its Place Making

莊曉萍 , Masters　　Advisor：王志弘　　

繁體中文 DOI： 10.6342/NTU201900928

電子花車；舞台車；都市節慶；藝術下鄉；空間塑造； electronic float vehicles ； stage-trucks ； festival ； space-making

Abstract │ Reference (83) │ Altmetrics

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This study focuses on the transformation of stage-trucks, and points out how the stage-trucks can create a consuming space in the cross-media activities by means of space-staggered competing and opening, thereby highlighting the uses of stage-trucks in present. The author takes participatory observation and deep imitation as the main research methods. Firstly, it points out how the electronic float industry has fallen and rises in the national cultural policy and cultural nationality atmosphere, and enters the cross-domain practice of aesthetics. The authors used the corner music "Taiwan Color Stage Fest" and the Paper Windmill Culture and Education Foundation "Taiwan Country Art Trucks Project" as an example to explain how the stage-trucks shapes the
living space through space displacement, program design. "Spectacle space" and "Cultural space". Finally, this article turns the vision back to the daily practice of the stage-trucks owners and manufacturers, and presents the basis for maintaining the stage-trucks to produce consuming places. It is a "Living space" that is entangled in family, technology and social relationship. The "Spectacle space" and "Cultural space" not only continue some of the characteristics of the "Living space", but also produce a new look in the cross-domain movement of the displacement. This paper argues that
the electronic float industry of folk culture has experienced the stigma and identity of nationalism, and now has entered the framework of aestheticization. The exuberant rendering power achieves the effect of nostalgic purification and national cultural symbols, but it also makes the content of aesthetics and other misappropriation gradually get rid of the daily life of the stage-trucks industry, and may imply the tension of stigmatization once again.

Reference ( 83 ) 〈TOP〉

Bourdieu, Pierre（2016）《藝術的法則——文學場域的生成與結構》（石武耕、李沅洳、陳羚芝譯）。台北市：典藏藝術家庭。
Cresswell, Tim（2006）《地方：記憶、想像與認同》（徐苔玲、王志弘譯）。台北市：群學。
Glesne, Corrine（2005）《質性研究導論》（莊明貞、陳怡如譯）。台北市：高等教育。
Lu, Stephy（2017/07/05）〈 EDM粉絲必看！2017Arcadia Taiwan超狂大蜘蛛11月襲台〉。《VOGUE》（https://www.vogue.com.tw/feature/special/content-34575.html），取用日期：2018/11/05。
Merriam, Sharan B.（2011）《質性研究：設計與施作指南》（顏寧譯）。台北市：五南。

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