《神隱少女》是宮崎駿少數以日本本地為背景的故事，極富日本文化色彩，且連連獲獎，文化獨特性似乎成為它致勝的元素之一。宮崎駿曾提到：「《神隱少女》與其說是一般描寫異世界的故事，還不如說是日本『昔話』中出現的『麻雀之家』(雀の家) 或是『老鼠的宮殿』(鼠の御殿) 的『直系子孫』」。日本「昔話」乃為日本文化重要的一環，以日本「昔話」為參考文本的《神隱少女》，必然包含了豐富的日本昔話與日本文化元素。此外，日本學者間宮史子曾提到，日本昔話中的主角出發前往的地方，最常見的就是「異界」；而《神隱少女》即是一段人類踏上「異界」所發展的故事。因此本文將以日本民間故事的「異界」作為分析項目，分析《神隱少女》動畫文本中的「異界」形象意義，以及與日本民間故事的連結關係。

從本質上來看，動畫產業屬於創意內容產業，具有巨大的經濟潛力。動畫影片除了播映產生的直接收益外，還蘊含了龐大的週邊產品授權市場。往昔研究日本動畫產業的文獻，內容多著重描述產業的發展歷史，而在產業運作模式的整體分析部分，往往著墨較少。基於個人對日本動畫產業的興趣，以及創意內容產業與日遽增的重要性，希望能透過一個整體性的架構，剖析日本動畫產業的運作方式，找出產業價值鏈發展的關鍵因素，供產界、學界往後研究日本動畫產業參考。 本研究依照產業價值鏈的研究架構，從次級資料中整理、分析日本動畫產業的發展歷程，希望能夠回答以下的研究問題： 1. 從價值鍊理論的觀點，探討日本動畫產業從1950年代到2000年代的發展歷程以及歷史背景因素的影響。希望能建構出一整體性的日本動畫產業價值鏈。 2. 藉由產業價值鏈的建構過程，釐清日本動畫產業內的重要價值活動，以及彼此之間相互影響的關係。 3. 綜合以上研究，希望能找出日本動畫產業發展的關鍵因素。 本研究之結論可摘要如下： 一、 日本動畫產業的價值鏈的內涵，可分為五個環節來描述 1. 原始創意：「原始創意」乃是動畫作品製作流程中，最早期投入的「原料」。包含動畫作品故事的題材選用、各項設定如人物、場景、美術設定、以及說故事的表現手法。 2. 資源募集：原料備妥後，為了要進入製作動畫的階段，還必須要有資金、人才、以及技術的到位，稱之為「資源募集」。資源募集包含了資金的籌措方式、人才培育的制度機構、以及動畫技術的創新突破。 3. 動畫製作：動畫製作的階段可再細分為許多的細項，但是對產業發展的過程來說，關鍵點不在於製作流程中某一項活動的創新，而是整體製作流程的演進，包含：垂直整合、專業分工、以及動畫製程的改變。 4. 內容流通：動畫作品製作完成後，需要經由種種的通路，將作品的影響力傳播出去。傳播的管道不限於一般的播送通路如電視、電影，也有可能是通過參加影展、參加專為動畫作品設置的競賽、接受某些動畫獎項的評審。此外，在內容流通的過程中，政府法規所扮演的角色，可能是助力，亦有可能是阻力。 5. 價值回收：經過內容流通的階段後，動畫作品的影響力傳播出去，這時候廠商開始透過許多不同的管道，進行價值回收的活動。除了直接針對傳播媒體收取播送的權利金、透過電影院的票房分紅外，透過肖像授權的方式所衍生出來的周邊事業，更是龐大的商機所在。 二、 價值鏈上的各環節存在著互相鏈結的現像 6. 「原始創意」環節的改變，會影響「內容流通」、「價值回收」等環節。 7. 「資源募集」環節的改變，會影響「原始創意」、「動畫製作」、「內容流通」、「價值回收」等全部環節。 8. 「動畫製作」環節的改變，會影響「原始創意」、「內容流通」等環節。 9. 「內容流通」環節的改變，會影響「原始創意」、「價值回收」。 10. 「價值回收」環節的改變，會影響「內容流通」環節。 三、 日本動畫產業發展的關鍵因素，在於完整價值鏈的建立，以及價值鏈內不同環節之間鏈結的強固 11. 在「原始創意」部分，日本動畫題材與表現手法的豐富，是發展歷程每個階段不斷累積的成果。 12. 「資源募集」部分，資金的來源多元、人才的培育制度化、技術不斷的創新，使得日本動畫產業在這部份相當具有競爭力。 13. 「動畫製作」部分，隨著流動通路的改變能夠採用不同的模式；並且發展出兩大軸線：虫製作的「有限動畫」和吉卜力工作室的「精緻製作」。 14. 「內容流通」和「價值回收」部分，新的動畫放映通路不斷的出現，伴隨著各種價值回收的手法開發出來，使得日本動畫產業在周邊商品的行銷上具有相當的能耐。 四、 日本動畫產業價值鏈的分析方式，不僅可應用於動畫產業，更可應用於其他相關之文化創意產業範疇 15. 本研究乃是依據Porter所提出之價值鏈理論作為建構產業價值鏈之工具，並輔以文獻探討中關於文化創意產業經濟特性以及電影產業價值鏈的回顧，將原先Porter之「製造業」思維之產業價值鏈，轉化為「軟體產業」思維之產業價值鏈。 16. 凡是文化創意產業中具有與動畫產業類似之創意投入、內容產製、流通、價值回收之產業，諸如電影產業、遊戲產業、音樂產業……等，都可以本研究所提出之產業價值鏈之分析模式，作為產業發展分析之工具。 / Essentially, animation industry, as a category of creative industries, has great economic potential. They include direct revenue from exhibitions and and there is a big market of related products. Most documents about Japanese animation industry focus on the history of industry development; total analysis of industrial operation is relatively less emphasized. Based on my personal interests in Japanese animation industry and the increasing importance of creative industries, this research will analyze the operation of Japanese animation industry and figure out the key factors in its value chain development. The objective of this research is to answer the following questions: 1. From the viewpoint of value chain theory, to study the history of Japanese animation industry between 1950 to 2000 in order to build a complete industrial value chain. 2. Through the building process of industrial value chain, identify the key value activities and the mutual effects among them. 3. Upon analysis, identify the key factors of Japanese animation industry development. The conclusions of this research can be summarized as below: A. The contents of the value chain of the Japanese animation industry can be described as five core elements. 1. Original creativity: Original creativity is the raw materials of the animation film production which are injected at the early stage, including the story, characters, scene, and art. 2. Resources collection: Before entering the stage of production, some resources are essential, such as capital, human resource, and technology. 3. Production: From the industrial viewpoint, we focus on the change of production process, including vertical integration, specialization and division of labor. 4. Contents distribution: Through various kinds of channels, the influences of animation films are spread out. The channels include television, theaters, exhibitions, contests, and awards. Also, the government and laws play the roles as help or blockage. 5. Value recycle: After the influence of animation films are spread out, enterprises begin to gain value recycle through several ways, such as premium, distribute profits, and especially the sales of related products. B. The five elements of the value chain are connected with different chains. 6. Changes of “Original creativity” have effects on “Contents distribution” and “Value recycle”. 7. Changes of “Resources collection” have effects on “Original creativity”, “Production”, “Contents distribution“ and “Value recycle”. 8. Changes of “Production” have effects on “Original creativity” and “Contents distribution”. 9. Changes of “Contents distribution” have effects on “Original creativity” and “Value recycle”. 10. Changes of “Value recycle” have effects on “Contents distribution”. C. The key factors of Japanese animation industry development are the construction of complete industrial value chain and the strong connections among the chains of different elements. 11. In the part of “Original creativity”, the rich contents about stories and performances of Japanese animations are the results of long-term accumulation. 12. In the part of “Resources collection”, multiple sources of capital, systematic education of human resource and continuous innovations of technology make Japanese animation industry very competitive. 13. In the part of “Production”, variable production processes are adopted according to different exhibition channels. There goes two major production processes: “Limited animation” and “Refined animation”. 14. In the part of “Contents distribution” and “Value recycle”, continuous invention of new exhibition channels and methods of value recycle make the Japanese animation industry very proficient in marketing the related products. D. The analysis methods of this research can apply to not only the animation industry, but also to the other fields within the creative industries. 15. This research transforms the “manufacturing” industrial value chain model mentioned by Michael E. Porter into the “software” one, based on the reviews of documents. 16. The analysis methods of this research work on those industries with similar creativity injection, production, distribution, and value recycle as the animation industry, such as movie, music, video game industries.

當好萊塢式的超級英雄在全球影視文化圈刮起炫風之時，日本次文化中亦有一群「娘子軍」，推動了日本動畫、漫畫的發展，諸如《美少女戰士》、《新世紀福音戰士》，至2011年成為日本推動軟實力外交「Cool Japan」的主打動畫—《魔法少女小圓》，都展現了日本動漫市場被名為「戰鬥美少女」的角色（character）和文類（genre）所引領的實態。這些巾幗不讓鬚眉的「美少女」，是動漫畫中的戰鬥主體，卻擁有別於歐美文化中結合力與美的女超人及女戰士的特質，她們同時擁有戰鬥的能動性，在身體表象上又具有纖細瘦弱、容易受傷的受動性，更甚是成為男性觀眾的性慾客體、女性自我實現的投射。如此對「少女」的憧憬與操作慾，實乃根基於日本近代文化的一種特殊現象。 在日本動漫充斥著色情與暴力而為人詬病之時，宮崎駿動畫電影因其所蘊含的藝術價值而和我們認知中的「御宅動畫」產生一線之隔。作品中披荊斬棘、自力更生的女性形象讓人耳目一新，然仔細探究宮崎駿動畫的人物設計和敘事結構卻與上述類型動畫中的戰鬥美少女特質不謀而合，甚至其作品《風之谷》中的娜烏西卡更被譽為是替戰鬥美少女定型的元祖角色。因此，本研究擬梳理少女文化與戰鬥美少女的發展，並以宮崎駿自1984年起至2013年執導的十部長篇動畫電影為研究對象，檢視其作品在角色形塑上是否使用戰鬥美少女模式包裝其理想的「少女意象」，期以理解「少女」之於日本社會有何種意涵與價值。 本研究發現，宮崎駿動畫除了酷愛以「飛行」強調少女的神聖性，其去性化的純潔無垢的少女意象，更符合近代日本對少女所設下的社會框架，而在敘述手法上卻體現了日本文化中普遍具有的過度男性凝視與母性肥大的主題，從而證明戰鬥美少女實非顛覆父權的利器，反而加深了既有的性別刻板印象。 / While Hollywood’s superhero movies are blowing up entertainment industry all over the world, there is a kind of young female character toting weapon in Japanese subculture and promotes the development of Anime and Manga. From Sailor Moon to Neon Genesis Evangelion, also Puella Magi Madoka Magica, which played an important role in Japan’s foreign Policy titled “Cool Japan” in 2011, the Japanese animation industry seems to be led by this kind of character or genre called “Battle Heroine”. These girls are prepubescent and pretty, but not inferior to boys and man. Although they are different from western superwoman and female warrior shaped in Amazons, they still hold the initiative in theirs fights. In the same time, they also maintain the passivity came from their vulnerable bodies and naive personality. Therefore, the battle heroine turns to be an object of desire for male audiences or a projection of self-actualized for female audiences. In fact, such desire to manipulate young girls, who were named “Shōjo” in Japanese, was based on the culture of modern Japan and became a special social phenomenon in recent times. Despite the fact that Japanimation was condemned by public because of teeming with violence and pornography, it is no doubt that director Hayao Miyazaki is appreciated for the artistic value in his awarded animations and makes a fine line between his films and “otaku anime”. The woman images in his animations can be refreshing because of its independence and brave behavior. However, when we have made a careful study of character design and narrative structure in his works, we may found that there is a coincidence between these characters and battle heroines in otaku anime. Furthermore, Nausicaä in Nausicaä of the Valley of the Wind is widely regarded as a stereotype of battle heroine. As a result, the thesis was intended to prioritize the development of Shōjo culture and battle heroine animations, and research whether Miyazaki attempted to shape female characters in battle heroine way to show his ideal Shōjo images or not among ten films directed during 1984 to 2013. Moreover, the meanings of Shōjo to Japanese were also discussed in this thesis. Throughout the research, I have found that Miyazaki tended to use “flying scene” to emphasize the deity of Shōjo characters, and the desexualized Shōjo images are familiar to the gender norms made in modern Japan. On the other side, the narrative approach of Miyazaki’s films revealed the exaggeration of maternal instinct and the redundancy of male gaze which have generally existed in Japanese culture. In my observation, these results proved that battle heroines are created to strengthen gender stereotypes instead of subverting the paternity rights.