兩岸電影合製的歷程與發展探究

彭向棻

doi:10.6342/NTU.2013.01984

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兩岸電影合製的歷程與發展探究

The Development of Cross-straits Film Co-production

彭向棻 , Masters　　Advisor：周繼祥　　

繁體中文 DOI： 10.6342/NTU.2013.01984

兩岸關係；跨國合製；電影產業；文化全球化；文化勞動的新國際分工； Cross-Strait Relation ； International Co-production ； Film Industry ； Cultural Globalization ； New International Division of Cultural Labour

Abstract │ Reference (87) │ Altmetrics

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International film co-production became very popular, as the world has been trending towards globalization.  Co-production between multi-countries or multi-areas effectively consolidates professionals and techniques worldwide; meanwhile, it creates synergy in fund raising and revenue generating.  Films co-produced by Taiwan and China teams became very popular as well, since two markets are geographically close and culturally similar.  Moreover, as Chinese look for international alliance, while Taiwanese for larger market, cross-straits co-production became a mutual solution because resources of two sides are complementary to each other.
    The dissertation is to investigate the problems and impact resulted from co-production between Taiwanese and Chinese film industries.  By studying the progress of interaction, it analyzed the factors of both promotion and obstruction in the fields of politics, economics and cultures.  It was found out that both number and variety of co-produced films have increased dramatically since 2008, thanks to China’s huge market demand, Taiwan’s remarkable talents, deregulation and cultural similarity.  Nevertheless, cooperation activities were limited by political conflicts and policy differences; for example, topics and creativity was negatively influenced by censorship of films in China.   From the viewpoint of Taiwanese film industry, co-production creates the risks of drain on capital and professionals as well as concern for losing local identification.
    In conclusion, co-produced films between Taiwan and China have yet been recognized as a main stream.  Limited synergy was achieved in either business or art, while significant gap in box office records showed difference in taste.  To ensure the benefit of cross-straits film co-production, there must be creative win-win strategies with effective cultural integration.

Reference ( 87 ) 〈TOP〉

吳怡國（2010），〈初探兩岸合拍偶像劇之發展與困境〉，《淡江人文學刊》第44期。
連結：
魏玓（2006），〈合製文化：反思全球化下的國際電影合製〉，《新聞學研究》第89期。
連結：
王傳宗（2005），《以「文化勞動的新國際分工」架構分析跨國合製國片的前景與未來 —以國片《巧克力重擊》為個案研究》，國立台灣大學新聞研究所碩士論文。
連結：
古書綸（2011），《兩岸電影合製之機會與困境：資金、人才與市場試析》，世新大學傳播管理研究所碩士論文。
連結：
Toby Miller, Nitin Govil, John Memurria and Richard Maxwell，馮建三譯（2003），《全球好萊塢》，台北：巨流。
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