超級特展與衍生商品成效之關聯性研究─ 以「永遠的他鄉—高更」展為例

A research on the relationship between the blockbuster and derived products - A case study of “Elsewhere: Paul Gauguin”

支涵郁(Chih Han-yu)

指導教授 ： 呂清夫

國立臺灣師範大學/藝術學院/美術學系在職進修碩士班/碩士(2011年)

摘要

超級特展所帶動的衍生商品，是「行銷」博物館最直接的方式，所開發販售的衍生商品，是文化藝術與消費活動兩者平衡的媒介。藝術展覽衍生商品的流通能作為參觀的紀念品、促進美術教育推廣，並且達到提升大眾生活美學等目的。但目前台灣藝術展覽之衍生商品的開發及其行銷策略的規劃仍在發展中的階段，普遍尚無法與大眾消費及市場脈動達成真正的連結。本研究透過觀眾問卷與專家學者訪談，以「永遠的他鄉－高更」展為例，歸納台灣目前在超級特展衍生商品上所面臨的問題，並分析超級特展其衍生商品的開發方向與經營趨勢。

研究結果顯示，由於超級特展與博物館展覽操作手法及本身性質的差異，超級特展之衍生商品具有相異於博物館的限制，難以等同的條件與標準相較。台灣超級特展衍生商品的發展，囿於時間、經費，觀眾期待的限制和以量取勝的迷思而不易發揮，而在此機制下的衍生商品，反可能對於主辦展館帶來商品品質、服務與展覽目的性受到質疑等負面觀感。衍生性商品對於生活美學的提升必須靠作品元素、文化特質的萃取，與設計、質材的慎用，超級特展之衍生商品在開發上尤須注意其特殊性(文化特質)、實用性、質感及故事性，且須重視商品價值而非產值。經由美術館與博物館對於衍生商品的審核，確實掌握衍生商品的品質，逐步透過生活與教育加以訓練，以較高的視野提升大眾的品味，並且達到提升大眾生活美學的目的。在批評級特展之衍生商品設計與創意的同時，我們尤應討論超級特展策劃之方式與必要性，期待美術館發更加揮其公信力，徹底掌握超級特展的主導權，以為觀眾帶來更客觀，並具有意義與創意的展覽內容及衍生商品。

關鍵字

超級特展 ； 衍生商品 ； 文化商品 ； 美學

並列摘要

Derived products from blockbusters are the most direct way to ‘market’ a museum. These developed products are media which balance cultural arts and consumption. Derived products can be souvenirs and serves purposes as promotions of arts education and public living aesthetics. Derived products of arts exhibitions in Taiwan, however, remain staying in the phase of developing, and the plans for marketing strategies, too. They generally cannot connect to mass comsuption and the market. This study attempted to induce the problems which block busters in Taiwan are now facing and analyze the tendency development and management of their derived products, by using ‘’Elsewhere: Paul Gauguin’’ as the example and questionnaire and interviews as the research tools.

The results found, due to the difference of their operations and natures, it is difficult to compare the derived products from blockbusters and culture goods from museums with identical standards. Derived products also differ in developmental conditions with museum’s products. Limited by time, budget, consumers’ expetations and the myth toward quantity, derived prodcuts might arouse negative impressions toward product quality, service, and the goal of the exhibition. To promote living aesthetics, they depend on the art work’s elements, extraction of culture, design, and material. Block busters,particularly, should base derived products on distinctiveness (cultural features), practicibility, texture, and narratives and should emphasize on the products’ value, instead of output value. Museums should precisely control the quality of derived products through examination and promote the sense of the public with a heightened perspective, so the fulfilling of the public’s living asthetics could be made possbile. When criticizing the design and creativity of block busters’ derived products, we should also consider the layout and nessecity of block busters and expect it to increase the musuem’s credibility and take the leading role, in order to bring more objective, meaningful, and creative exhibitions and derived products for viewers.

並列關鍵字

blockbuster ； derived products ； culture goods ； aesthetic

參考文獻

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