本文主要是針對台灣動畫及遊戲產業進行比較性研究,首先,作者透過台灣「製造業」奇蹟實證研究的檢視,尤其是經濟社會學的觀點,釐清了技術機會與學習創新、國家機器與制度條件、組織、網絡與群聚等等不同的分析面向,並得以藉此進一步掌握台灣動畫及遊戲產業的發展面貌。 其次,作者透過文化工業多元觀點的考察,認為文化工業相較於其他工業,在生產—複製—消費之間,存在著互動連結的關係,就消費—生產的連結關係而言,文化消費存在「區隔性」、「主動性」及「生產性」,並往往透過一定的機制影響著文化生產,就生產—複製的連結關係而言,文化與工業的結合存在內在矛盾性關係,並往往透過「彈性、綜效與群聚」的組織形式,以不斷解決矛盾、降低風險及維繫創新,而就複製—消費的連結關係而言,所謂「風格與類型」,往往是在文化的消費、商品及工業之間所相互建構而成的,作者進一步將生產—複製—消費之間的互動連結關係,稱之為「創意資本的社會建構」。 第三,透過上述台灣動畫及遊戲產業發展面貌的掌握,作者得以釐清台灣動畫及遊戲產業的特殊性格,並以「創意資本的社會建構」的是否存在作為主要因素,進一步解釋台灣動畫代工的「弱勢」之於遊戲自製的「創新」,也就是說,台灣動畫產業在生產—複製—消費之間,呈現「以動畫代工為主流」的文化製造、「128公路的組織」的孤立封閉、「美國好萊塢與日本動漫」的被動消費等等特殊性格,反之,台灣遊戲產業在生產—複製—消費之間,呈現「玩而優則研發」的自製文化、「矽谷的網絡」的創意創新、「RPG、華人文化與武俠題材」的風格類型。 最後,透過台灣動畫及遊戲產業的同中求異,以及日本ACG產業的正面實例,作者認為所謂在地、自主性的文化工業發展的可能性,即在於本文所提出的「創意資本的社會建構」,也就是生產—複製—消費之間互動連結及正向回饋關係的存在與否。
This dissertation focuses on the comparison between Taiwan animation and game industry. First of all, after reviewing empirical studies of Taiwan ‘manufacture’ miracle, the author clarifies the history of Taiwan animation and game industry by technical, institutional and organizational analysis. Secondly, after reviewing diverse viewpoints of cultural industry, the author finds the interactive relationship between production, reproduction and consumption in cultural industry. As for the interactive relationship between consumption and production, cultural consumption often inflects cultural production by ‘distinct’, ‘active’ and ‘productive’ properties. As for the interactive relationship between production and reproduction, cultural industry keeps solving contradiction, reducing risk and maintaining innovation by ‘flexible’, ‘synergy’ and ‘agglomerate’ organizational forms. As for the interactive relationship between reproduction and consumption, ‘style’ and ‘genre’ often come from the construction between cultural consumption, commodity and industry. The author also called it “social construction of creative capital”. Thirdly, the author founds ‘outsourcing’, ‘independent organizational form’ and ‘Hollywood/Manga/Anime’ construct the interactive relationship between production, reproduction and consumption in Taiwan animation industry. On the other side, ‘player-become-developer’, ‘network organizational form’ and ‘RPG/Chinese culture/Chinese chivalry’ construct the interactive relationship between production, reproduction and consumption in Taiwan game industry. Finally, based on the comparison between Taiwan animation and game industry, the author suggests the possibility of local autonomy cultural industry lies in the existence of “social construction of creative capital”.
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