欲建構一個全方位的電影基地，實為龐大且複雜的計劃。臺中市政府新聞局於2011年開始規劃並落實建構的「中臺灣電影推廣園區」，研究者為該計畫決策執行兼推動者，故以行動研究的親身參與及實際觀察法，透過反省與修正探索建構一個全方位電影基地過程中，其關鍵問題與因應策略的現象及影響；歸納分析因各不同環境或人為因素變動，以及所選擇因應策略對產出結果的影響。期待本研究結果能成為未來類似計畫之參考。 本案研究者依系統循環的概念，以圖示歸納關鍵事件與因應策略對應後產出的結果，比對其變革後的結果與最初規劃目標之間的連結關係，從本研究發現中得出結果如下： 1.電影政策與城市行銷，可有直接的正向聯結關係。 2.一個計劃在建構期間出現無法預設的變革為正常現象。 3.良好的溝通與協調，亦可能成為影響結果的重要因應策略。 4.選擇得當的因應策略，即使改變，也可能出現比預期還好的成效。 根據本案的研究發現，提出建議如下： 1.全方位的電影文化與相關之產業政策應持續支持及推動。 2.變革雖為正常現象，但堅守目標、宗旨與原則，持續培植人才仍為重要使命。 3.即使觀念或訴求不同，但在追求社會與文化進歩發展的觀點下，更需透過理性的溝通與協調，求取共識。 4.變革可以期許出更好的新局與未來，但過往的歷史與紀錄，仍是新時代影像工作不可棄置的重要觀點。 / The objective is to build an all-purpose movie operational base and overcome any possible complications regardless the scale of them. The Information Bureau of Taichung City Government has started implementing the construction of “ Mid-Taiwan Movie Promotion Park” since 2011. The research unit for this particular project is also the project promoter and the executor. In other words, this project researcher was able to personally participate and inspect the production process through in person observation where the researcher could reflect on the adjustment made to target key issues in the park establishing process. The project researcher categorizes and analyzes these the park establishment strategy and analyzed results may also be affected by various human and environment factors. The purpose of this research is to have the analysis brought to the public and thus makes a positive impact for similar future projects. The researcher utilizes a system circulation concept and further demonstrates and clarifies this concept via diagram and visual presentation. The system circulation concept not only compares the result after modifications and the initial goal, but also bridges the relation between the result and the initial goal. The research reveals the following listed below: 1.The relationship between movies related policies and city marketing could be direct, positive, and constructive simultaneously. 2.It is typical that unpredictable barriers appear during the construction period. 3.Friendly constructive communication and coordination could be a key factor that affects the project outcome. 4.Appropriate response could result a better-then-expected outcome. Suggested strategies according to the research listed below: 1.An all－purpose movie culture and its related industries policies should be supported and promoted in a persistent and everlasting manner. 2.Although proposed plan may not always implement accordingly, the big picture is to stay adhere to goal, purpose, and principle and continue to cultivate talents. 3.It is particularly important to reason rationally and coordinate to reach a mutual aim when parties express difference aspirations and perspectives. 4.Changes could motivate breakthrough and, at the same time, it is crucial to keep the past in the back of the mind and note from the it.

關於台灣電影，日本可說是時常被使用的元素。除了在2014年一上映就賣座的《KANO》之外，在2010年上映，描繪日本女性與台灣男性戀愛的《愛你一萬年》、以及在2012年上映，將西門町以日本原宿的形象呈現的《西門町》，三部電影都展現日本與台灣的密切關係。雖然這些電影裡都有描繪日本風的元素，但都可說是台灣人基於文化接近性所再建構的，一種獨特的日本形象。 因此，本研究先概觀台灣在1990年代之後接受日本流行文化的影響，並就台灣人如何將日本流行文化再建構進行分析。譬如，《愛你一萬年》就是參考1992年在台灣所播放的日本偶像劇《東京愛情故事》，來描繪日本女性的形象；而受到1990年代後期所興起的「哈日」現象影響，電影《西門町》所描繪的西門町場景中，具有仿造日本「原宿」的都市構造，「卡哇伊」的服裝風格也開始出現。此外，雖然《KANO》與日本流行文化沒有直接的因果關係，但是日本流行文化與「台灣意識」似乎催生了對劇中「親日」的描寫。 根據上述想法，本研究依據焦點團體訪談(Focus Group Interview)的方式，讓日本受測者觀看上述三部電影，就電影裡面所描繪的日本形象與自身所想像的日本形象兩者之間的差異進行討論，分析他們的討論內容。 結果，對於《愛你一萬年》中所描繪的日本女性形象，日本受測者雖然不認為劇中日本女主角符合典型日本女性形象，但普遍都能接受本作品所描繪的日本女性形象。對於《西門町》中所描繪的西門町，如果就西門町整體氛圍的話，日本年輕世代的受測者能看出西門町與原宿的關聯性，然而如果注意到劇中西門町細部的話，日本受測者都不能看出這樣的關聯性。此外，對本作品所描繪的「卡哇伊」文化，日本人會覺得有些過時。對於《KANO》中所描繪的會說日語的台灣人，日本受測者則難以對三者（漢民族、原住民、日本人）進行區分。另外，根據語言、歷史與政治的角度，以及不同的時空背景來觀看本作品，對於嘉義農林棒球隊的球員是代表哪個民族的球隊的問題，受測者則會因為語言、歷史與政治的不同而有所差異。 / It can be said that Japanese elements are often used in Taiwanese films. Aside from KANO which enjoyed great success in 2014, Love You 10,000 Years from 2010 describes a love story between a Japanese woman and a Taiwanese man, while Westgate Tango from 2012 describes Ximending (西門町) in the style of Harajuku (原宿). Like this, these three Taiwanese films have a close connection with Japanese elements. However these elements have been affected by “Cultral Proximity (文化接近性)”and been reconstructed as fitting within Taiwan. That is, they can be considered localized Japanese elements. This research analyzes first how Taiwan received Japanese popular culture since around 1990 and subsequently localized it. For example, Love You 10,000 Years uses the Japanese female image from Japanese popular drama Tokyo Love Story , broadcast in Taiwan in 1992. The atomosphere of Ximending (西門町) Westgate Tango describes has an urban structure like that of Harajuku (原宿), and represents“Kawaii (cute、卡哇伊、カワイイ)”fashion that the “Hari (Japanification、哈日)” phenomenon of the late 1990’s brought in. KANO does not have a direct connection with Japanese popular culture, though it seems that Japanese popular culture and “Taiwan Identity” gave birth to the “Japanophile” attitude in the film. This research adopts the Focus Group Interview approach, first allowing Japanese participants to watch each above-mentioned Taiwanese film. Afterwards the researcher prompted a discussion of each film and analyzed the contents of them. As for the Japanese female image Love You 10,000 Years describes, Japanese participants did not recognize it as a stereotypical Japanese female image, however received it as one possible image among Japanese women. As for the atomosphere of Ximending (西門町) Westgate Tango describes, if participants considered the entire appearance of Ximending, participants whose ages ranged between twenty and thirty could associate the atomosphere of Ximending with that of Harajuku. On the other hand if Japanese participants considered individual scenes of Ximending, they could not do that. As for “Kawaii (卡哇伊、カワイイ)”fashion that this film describes, Japanese participants felt that it is out-of-date compared to Japanese fashion of the same period. Lastly, as for the Japanese-speaking Taiwanese speaking described in KANO , it was very difficult for Japanese participants to distinguish Taiwanese from Japanese. Therefore when considering the primarily Japanese language spoken by the“Chiayi Agricultural School baseball team (嘉義農林棒球隊)”, participants readily identified the team as Japanese. However, when considering the historical and political setting of film, it was found that participants had varied opinions about the ethnicity of the team.