西方自從1970年代末期逐漸重視華語電影，國內外影評、輿論經常以「中國電影熱」形容這個現象，本研究將此現象置入歷史文化的脈絡中分析，認為這個現象肇因於當時西方面對封閉而陌生的中國，一種交織過去文化想像、殖民經驗、神秘氛圍、現實需求（戰略考量、廣大的市場）所形塑的心理動機，並展現在許多不同領域，而電影「中國熱」是在此情況下的一個環節。 另一方面，本研究以「中心╱邊陲」的後殖民思考架構，視「中國熱」現象為華語電影走向世界的過程中的四個階段－「重新被發現、新電影運動與西方中級影展、納入主流藝術電影院線、與好萊塢電影工業接軌」。同時，本研究也將進一步探討背後的文化意涵及其所代表的意義。 / Since late 1970s, the Western has gradually put more and more concentration on the Chinese films. The film reviews and the public opinions always regard the phenomenon as the “Chinese Cinema Fever”. This article, on the one hand, analyzes the phenomenon in the historical and cultural veins. While facing China, a state once made the western feel so distant and unfamiliar before, a kind of mentality in the “Western” has been molded by the cultural imagination, colonial experience, mysterious atmosphere, and realistic demand (such like strategic consideration and large-scale market, et al.), and displayed in the various fields. Meanwhile, the “Chinese Cinema Fever” is being a part in such complicated situation. On the other hand, the phenomenon, the Chinese Cinema Fever in the Western Film Festivals since late 1970s, will be considered under the framework of “Center-Periphery” and be regarded as a process of the Chinese film toward the world, which is composed of re-discovering, re-emphasizing, including into the mainstream in the system of the Art Theatre. Nowadays, the Chinese films have turned into a part of the worldwide culture and universal consumption. At the same time, I would like to go a step further to discuss the cultural meanings behind the appearance.

隨著娛樂經濟的時代已儼然來臨，伴隨著與文化、藝術、或是娛樂價值相結合的商品或服務，我們的生活也隨之豐富而多元，此刻內容產業也成為新世界經濟的主要推動力量。而內容產業不但創造高度的經濟價值與就業機會，而其所衍生之附加價值，更可讓社會大眾浸淫於生活美學的氛圍中，享受優質的文化環境。 而認識自己無疑是智慧的開端，本研究為一初探性之研究，從創新管理的觀點，針對與創意文化相關創作團隊所進行之專案，採用個案研究法，從中接觸到團隊旺盛的創造力與活力，並作為瞭解內容創作團隊領導者特色、團隊運作方式與創作過程，使創意團隊能以此作為依循的方向，希望能激發出更豐富及優異之創新成果。 本研究之研究個案包括，雲門舞集—《行草》之創作專案、Home Green電影公司—《你那邊幾點》創作專案、紅電影公司—《想飛》創作專案、雨龍三景—《魯賓遜漂流記》創作專案、侯孝賢映象製作公司—《千禧曼波》創作專案。 藉由多個案研究之訪談，將研究發現歸納整理如下： 壹、對於團隊領導者的觀察 1.創意團隊領導者多成長於矛盾的環境之中，一方面接受嚴謹的家庭或環境的要求與薰陶，另一方面卻又將自己與家庭學校或社會保持距離，具有邊陲情懷。 2.創造性人物具有高度的內在動機，並且勇於選擇與眾不同的道路前進。 3.創意團隊領導者具有矛盾的特質，且能在兩種極端的個性之中遊走迅速轉換。 4.出色的創意團隊領導者具備多樣專長，並藉此與不同功能的專業人員進行整合。 5.出色的創意團隊領導者願意賦予成員創作空間，讓團隊成員貢獻更多的創意，以培育全創作主義的團隊。 貳、創意團隊之啟發 1.創意團隊的成員組成具有多樣性較有助於團隊創意成果的發揮。 2.團隊成員的聘僱多採用過去已經合作過的成員。 3.團隊成員過去合作經驗與其參與創意過程的程度有所關聯。 團隊成員參與創意程度較高的團隊，其團隊成員多為長期合作的成員。 團隊成員參與創意程度中等的團隊，其團隊成員多為較少合作的成員。 4.創意團隊決策權與知識權相結合。 5.創意團隊偏重的決策方式，除了以理性為主之外，還側重以洞察與實行為主的決策模式。 6.傑出的創意團隊具有雙領導的傾向。 7. 出色的創意團隊，其團隊內具有中階管理者扮演語言轉譯及聯絡溝通的角色。 8. 實驗和原型試製作為溝通對話的橋樑與載具。 9. 創意團隊透過作中學及師徒制進行技能與知識傳承。 參、對創意過程的啟示 1. 出色的創意團隊，其創作題材之選擇多具獨創性，並與自身生活經驗與社會環境相結合。 2. 在專案正式展開前的事前計劃（pre-project planning），有助於專案的進行。

本研究主要透過一個全新的產業矩陣架構，細膩翔實地檢視造成好萊塢電影產業現有形態的產業特性，讓相關產業決策者能夠看到好萊塢電影產業每個環節的意義，繼而思索未來發展的種種可能性，也希望這個研究能給國片市場的經營管理帶來一些參考價值。 分析研究的結果主要如下： 一、好萊塢電影產業成功的關鍵之一，在於其產出部份所面對的不僅是夠大的國內市場，還有可以為其帶來更多淨利的全球市場。 二、好萊塢電影產業在一開始就將電影設定為一種商業性產品，因此幾乎所有的投入價值單元(成本、演員、導演、科技、特效或獲獎消息等)，一直到產出面的產品(戲院電影、電視電影、有線電視電影、錄影帶、授權商品)進入各種通路，和授權商品廠商間的異業結盟等，皆和「行銷」有所關聯。 三、各種環境前提，包括了美國文化意涵在全球透過各種不同媒介的高度湛入，和美國在國際政治、經濟、學術、商業地位上的重要角色，也助勢好萊塢電影產業的蓬勃發展。 四、反觀台灣電影產業，既然本身在有限的市場下無法形成像好萊塢電影產業這樣的規模，就應該用一個宏觀的角度去找出自身在全球電影產業中的位置，尋找自己可以扮演的角色；既然無法掌握所有的投入價值單元，就應該就本身的優勢，挑選有競爭力的投入價值單元，全心投入，成為全球電影產業價值鏈中能夠出色的一部份。

本論文旨在以「作者論」來觀察導演蔡明亮作品，進而發現其電影中所隱含的「現代性」。在進入導演所經營的電影場域之前，先行從文獻中了解現代性起源與特質，由於現代性經驗範圍十分廣泛，為免後續分析過於零散，在此將現代性經驗侷限於現代化後對於「環境」、「時空」、「人際關係」、「家庭倫理」、「個人情欲」等影響。 緊接著現代性經驗與特質之後，再從現代主義等文藝活動，說明「現代性」與現代主義電影關係，並思考蔡明亮作品在台灣現代主義所處版圖位置。從現代性起源，現代主義、一直到現代主義電影，論文主體建構在社會學基礎上，並旁及當代現代性文藝創作。 理論基礎確立後，旋進入以「作者論」為主的論述。在蔡明亮成長過程中，馬來西亞故鄉生長經驗與台北異鄉漂泊經驗均對其作品產生某種程度影響，而他大學時期的劇場演出更預示日後創作；了解導演個人的生平事略後，再回歸電影文本，從「環境」、「時空」、「人際關係」、「家庭倫理」、「個人情欲」等之前探討的現代性議題著手，從中探討蔡明亮電影中隱含的現代性議題。 在「環境」、「時空」兩節中發現，在蔡明亮影片中不時出現劇中人以「漫遊」穿梭過城市，而這□的城市也如同黑色電影般呈現出陰鬱不明。兩者互相搭配下，漫遊者在漫遊間讓己身與城市脫軌，在「不存在」中進而感受到城市的存在，而這樣的存在又建立在蔡明亮以燈光、聲音、影像所建立的陰鬱城市。 「人際關係」、「家庭倫理」、「個人情欲」等後續分析，觀察到其作品中三者關係密切，個人情欲的壓抑與人際疏離有關，而這一切卻又和家庭變革不可分離，交互影響下進而呈現出現代人面臨無助與寂寞。 研究結果發現，自《青少年哪吒》（Rebels of the Neon God）以來，蔡明亮的作品，外在時空總是支離破碎；而在內在的情感表達上，家庭內部則是充滿紛爭、人與人之間無法真正溝通，而藉著多元的情欲表達，更呈現出個人存在的荒謬。 而在電影語言上則可歸納敘事薄弱（poor narrate）、不重視電影配樂及強調長鏡頭跟拍（long shot）等特點，綜合以上種種特質。他電影呈現類似安東尼奧尼（Michelangelo Antonioni）等現代主義電影風格，更表現出急速現代化下，人與人之間無助的疏離感。 / The present paper aims to survey the films directed by Ming-Liang Tsai from the perspective of auteur theory, and to explore the modernity concealed in the films. The research will introduce the auteur theory first in the first chapter. Before entering the discussion on Tsai’s films, the second chapter will examine the origin and specialties of the modernity from the literatures. To avoid the following discussions being too fragmentary, the experiences of the modernity in this paper are emphasized on the analyses of “the environment”, “time and space”, “interpersonal relation”, “the family ethics”, and “the private sex”. Next, the paper explains the relationship between modernity and modernism film with modernism and other art activities, and tries to locate Ming-Liang Tsai’s films on the domain of modernism. The explanation is based on the sociology theory, modernity literature and art activities, stretching from the origin of the modernity, the modernism, to the modernism films. The third chapter will focus on Tsai’s growing-up in Malaysia and most of the adulthood in Taipei. The special experience has exerted some degree of influences on his films. Tsai’s participation in theater performance in college also helps his later creative works. With these understandings of the director, this paper traces back to the context of Tsai’s films and attempts to explore the modernity in his films from the points of “the environment “, “time and space”, “interpersonal relation”, “the family ethics”, and “the private sex” respectively. In analyses of “the environment” and “time and space” in Tsai’s films, the characters are found to wander all the time through the city as gloomy as in film noir. Such a wandering makes these characters deviate from the city and further aware of the city – a typical Tsai’s city that is designated to be so dim and depressing by stage light, sound and images. The following chapter will analyze “interpersonal relation”, “the family ethics”, and “the private sex” in Tsai’s films – It starts with the relevance of the alienation from the society and the depression of the private sex. Such relevance can in turn be attributed to the reform of modern household. – With these interactive elements, Ming-Ling Tsai expresses the helpless and loneliness of modern people. In the final chapter, the research has a summary about Tsai’s works. Most of his films can be characterized by an external appearance of incoherent time lines and environmental settings and an internal expression of struggles inside the family as well as failures of the connection to other people since the movie “Rebels of the Neon God”. Moreover, the complicated sensual encounters running through the movies demonstrate the absurdity of individual existence. In addition, poor narrations, an ignorance of incidental music and an emphasis of long shots can be seen as a common language employed in his movies. The integration of these elements in his movies manifests a modernist style like those films directed by Michelangelo Antonioni and further displays the desperate alienation between people in the speeding modernization.

美商八大電影公司每年票房收入約佔台灣電影市場總票房的七成以上，台灣外片發行商面臨這樣強大的挑戰，在許多方面都處於極大劣勢。然而，2006 年，幾部由台灣外片發行商所發行的影片，仍突破重圍，取得票房上的成功。這些個案展現了數種專屬於台灣電影市場的行銷模式，顯然具有值得借鏡之處。 本研究在深入瞭解台灣電影發行市場的歷史脈絡與現況之下，對2006 年在市場上獲得成功票房的四個個案進行資料蒐集與訪談。接著以整合行銷傳播的概念，分析其各行銷層面成功的元素，希望對於台灣外片發行商未來發行能夠有所幫助。個案選擇以影片上映規模為分類，挑選各類別中票房排行最具有代表性的四個案例，分別為：甲上娛樂所發行的《絕命終結站3》、山水娛樂的《巴黎我愛你》、海鵬電影的《愛瘋狂》以及聯影的《戴珍珠耳環的少女》。 藉由探討台灣外片發行商的成功行銷模式，本研究希望提供台灣電影發行業者未來行銷上的參考，使得電影的發聲權不再單由好萊塢所掌控，觀眾的觀影經驗才能夠更豐富而多元化。 關鍵字：電影行銷 整合行銷傳播 台灣外片發行商 / Every year, more than seventy percent of the annual box office profit in Taiwan is earned by Hollywood’s major cinema distributors. Facing such a strong competitor, Taiwan foreign film distributors certainly have a lot of disadvantages. However, in 2006, the box office for some movies by Taiwan foreign film distributors still achieved remarkable success. These successful cases demonstrate several kinds of marketing models suitable for Taiwan’s film market and is worthy of further research. After a fully investigation of the historical development for the Taiwan film market, this thesis aims to interview four Taiwan foreign film distributors whom achieved great box office success in 2006, collect relating data, and use the concept of integrated marketing communication to analyze elements of their success. The four cases are classified by their scale of release, while selecting the film that achieved the highest box office in each category. The four films chosen are as following: 《Final Destination3 》,《Paris, Je T'aime》, 《C.R.A.Z.Y》and 《Girl with a Pearl Earring》 Keywords: Film Marketing, Integrated Marketing Communication,Taiwan Foreign Film Distributor.

科技媒體看似創新，實際上卻不斷重拾基本人性與感官習慣，人類文明演進因而呈現永恆回歸的螺旋。十九世紀末的電影發明似乎新穎，但實際上卻是利用新技術來重現人們眼中的「自然」。電腦網絡彷彿是嶄新概念；然而虛擬空間卻源自對現實空間的複製、強化與變形。網絡文化日新月異，最後脫穎而出的卻是部落格、影像分享或播客。高度複雜的媒體演化，最後竟整合了各種傳統媒體的特色，並且重拾了最簡單的表達與溝通模式。媒體重建視聽感官，不斷貼近符合自然的環境。 文學創作的演進，也與媒體科技共同演化，而走向「回歸」之路。看似以線性發展的文類，其實不斷環繞著「口語回歸」的中心，以螺旋方式演進。在這樣的螺旋中，經典內容不斷被吸納進入新的媒體，形成文化演進的動力。從戲劇、詩詞到小說，似乎從口語推進至書寫與印刷；但二十世紀的廣播、電影與電視，乃至於電腦網絡，卻將文學重新帶回口語場域。這不禁讓人思考，創新並非進步的真正動力；反倒是新舊混雜、多元流動的媒體整合，才能在跨越文類疆界後，重新尋回最貼近人性的藝術表現形式。 類似的跨文類與媒體整合現象，可從狄更斯作品在不同媒體的流動中見到端倪。狄更斯不但是位傑出的小說家，同時也是出色的演員以及雜誌經營者。他那跨越文類的創作活力，使其作品於媒體演進的過程中，不斷被吸納更新。狄更斯的跨文類網絡提供了一個具體而微的模型，足以檢視媒體整合的歷史演進，以及科技重拾人類自然溝通模式的不同階段。本論文旨在研究狄更斯小說與媒體整合之間的微妙關係，藉此觀察媒體整合感官的進程。論文將分為四大部分。 首先，狄更斯深受劇場傳統影響，而他的小說也經常被改編成為維多利亞通俗劇，這反映了經典內容於書寫（小說）與口語（戲劇）間擺盪的流動性。在小說興起的時代，書寫作品經常被搬上舞台，回歸最直覺的視聽環境，而一般大眾不但熱衷劇場，同時也習慣以劇場經驗來閱讀小說。這種「書寫」與「口語」相互滲透的現象，證明了口語文化的強韌性，也反映出「口語回歸」的趨勢。 其次，狄更斯大眾說書的空前成功，不但說明了觀眾對於視聽表演的熱愛，也暗示著作者試圖從書寫形式外尋求更多創作可能的嘗試。更重要的是，這代表了作者從十九世紀書寫印刷技術回歸吟遊詩人傳統的潛在慾望。透過反覆刪編與練習，狄更斯無須像史詩吟唱者般口頭記頌，而得以藉文字幫助強化表演的變化性與靈活度。透過舞台符號的暗示，狄更斯同時又策略性維護了自身「文化菁英」的形象，在口語與書寫間，取得了策略性的平衡。 第三，狄更斯小說被改編成為電影的過程，顯示了文字被搬上螢幕時所產生的複雜文類互動與媒體間的交互滲透，而作者的敘述技法，則直接影響了許多電影先驅的運鏡與影像語言。攝影機實現了文字藝術所無法表達的事物，然而文字卻馳騁想像，啟發了電影場面調度的概念。本文將觀察狄更斯小說於十九世紀連載時，小說與插圖間的微妙關係，以及小說敘述中的視覺元素，檢視其對於二十世紀電影改編的影響。然而，文字述刺激想像；但電影卻直接將影像呈現於眼前。倘若文字的「留白」是意猶未盡的空間，那麼過於露骨的影像，卻可能剝奪想像的彈性，這是媒體創作必須省思的課題。 最後，本文將研究狄更斯於網際網絡上以不同形式出現的現象，並解讀其在媒體整合中所代表的意義。除提供狄更斯資源的學術網站外，網絡上的電子書與有聲書也同時可見於網絡資源中，甚至許多部落格也提供個人製作的狄更斯改編影片。邇來盛行的「播客」，將數位科技帶往了口語表達的方向，傳統的文字創作開始成為有聲媒體的重要內容，經典作品被數位化、有聲化、影像化，朝更加貼近人性以及自然溝通環境的方向發展。。 狄更斯小說的跨文類網絡提供了一個具體而微的跨媒體網絡模型，透過此模型，我們可以更清楚地觀察媒體整合與演進的歷程，並觀察其不斷回歸的螺懸。近年來文學研究日漸偏向科際整合、媒體整合的文化研究發展，然而也因此不免陷入了自我定義的危機。狄更斯的跨媒體現象足以提供文學研究者一個未來文學與文類發展的可能方向，並於此機械複製的時代，為文學的發展提出可能的解答。 / Media never really innovate; they actually restore the natural balance of human eyesight and earshot with the hybridization of various perceptive elements. For instance, cinema was regarded as an invention in the late nineteenth century, but it only reflected the natural environment people observed with their pre-wired biological perceptions. Cyberspace may appear innovative to us, yet the “Virtual Reality” is still the duplication, amplification or transformation of the nature. The Internet optimists had once dreamt about immense possibilities; the real application of blog, video sharing and podcast, however, merely hybridizes the existent audio and video media. The most sophisticated technologies always aim to approximate the natural mode of human perception, which makes the evolution of media more a spiral that constantly returns to the natural habits than a linear progress into the future. Similarly, literature co-evolves with media to restore the most natural elements — the oral tradition, primary or secondary as it may be, is thus perennial in all literary genres. The evolution seems to advance in a linear pattern; it, nevertheless, revolves around the center of orality and progresses in an anthropotropic spiral, where the classic motifs in various works are sucked and hybridized. Although the canonical transition from drama, poetry to novel sacrifices the natural oral-aural environment to the stable storage in words, the twentieth-century literary representation on radio, film, television and the Internet eventually restore the classic contents in the audio-visual environment. Such a spiral invites us to speculate an essential question: the technological innovation may not be the only dynamic to propel the evolution; instead, it is the restoration of the human-friendly environment that validates the value of the new media. Similar restoration and hybridization can also be observed in the transformation of Charles Dickens’s works into various genres. Dickens is not only an outstanding novelist but also a brilliant performer and an influential magazine entrepreneur. The vitality of his works transcends varieties of literary genres and is absorbed into innumerable modern media as the technology advances. Dickens’s transgeneric network provides a model to observe the transition of media hybridization when the modern technology restores the human natural communication. This dissertation aims to analyze the delicate relationship between Dickens’s novels and the continuous consolidation of human sensory perceptions in various media. My research will be divided into four main categories: First, it will study Dickens’s indebtedness to the tradition of theater and the nineteenth-century melodramatic adaptation of his works to see how the contents of the classic literature oscillate between the pure written form (novels) and the residual of the oral performance (melodrama). The study of such a complicated relationship helps clarify Dickens’s transgeneric metamorphosis profoundly influenced by the social milieu and the mass entertainment in the Victorian period. Second, the success of Dickens’s Public Readings not only epitomizes the audience’s craze for the audio-visual performance but also suggests the author’s endeavors to seek more creative possibilities besides the writing format. More importantly, this singular phenomenon represents the social collective unconsciousness, though repressed by the dominant culture of typography, to return to the ancient tradition of minstrels and bards. Through meticulous editing and intensive rehearsal, Dickens was able to perform with more improvisation and higher accuracy. Furthermore, with a series of symbols onstage, he strategically maintained his identity as a cultural elite and meanwhile enjoyed the ecstasy of orality. Dickens’s unique strategy to reach the equilibrium between orality and literacy will also be analyzed in the dissertation. Third, several film and television adaptations of Dickens’s works will be examined to show the modern transition of his stories from the written genre to the audio-visual media. Dickens directly influenced many cinematic forerunners, and the film fulfills the imagination of the author, which could not be realized on the written page. Furthermore, the cooperation of the novelist and the illustrators in the Victorian magazine serialization will also be analyzed to see how the illustrations inspire the later design of movies on screen. However, the “un-represented” may more often than not be more pregnant with meanings than the explicit representation on screen. Therefore, it will be an important issue to re-consider the meaning of recollecting the natural environment in the literary creation. The final analysis concentrates upon Dickens’s works in the cyberspace, monitoring his afterlife in this cutting-edge medium. Besides the websites that contain the scholarly resources, the old radio clips that recite Dickens’s works and the hypertext reproduction of the novels are all juxtaposed in the virtual space. Moreover, many personal blogs provide their own video adaptations, and the other productions such as the podcast become popular on the Internet. The reincarnation of Dickens’s works in the cyberspace represents the novelist’s unique status as the “cultural modem” that bridges the gaps separation the past, present and future. His works epitomize a clear lineage of the technological transition that endeavors to recollect the most instinctive pattern of human cognition. The transformation of Dickens’s works into so many genres forms a transgeneric network that could help envision the hybridization of media in the literary history. When literature tends to include all media into its field of study, it sometimes undergoes a severe crisis of self-definition. Dickens’s model may provide some clues to envisage the future development of the literary genres in the age of mechanic reproduction.

電影作為跨文化傳播的重要媒介，反映當下他國與該國權力結構的認知，對一國的國家形象塑造有著重大作用。國家形象就是他國人民對一個國家的概念性印象，在傳統好萊塢的商業大片上，中國的形象多半遭受「東方主義」的臆測，中國政府亟於透過文化宣傳的方式來改善中國的國家形象，其中中美合拍電影傳達出的中國意象扮演重要角色。觀察近年來的中美合拍片，相較於過去的好萊塢電影，中美合拍電影的中國形象似乎獲得大幅提升，但仍存在東方主義對「他者」的視角。 中美合拍片有將「中國國家形象」與「中國人形象」與之區分，分別對應「專制的中國政府」與「順從無主見」的人民，最終只能希冀西方的拯救者來救贖之現象。就連東方的導演都「自我東方化」，電影傳達的中國形象，其實是透過中國導演觀察與西方的差異，自我建構出的「東方形象」。 雖然中美合拍片裡中國形象仍是西方對東方的「再現」，但中國政府透過合拍的攝製法規與審查制度，「一手拿棍棒，一手拿紅蘿蔔」。一方面獎勵遵守中國規則的劇組，提供資源協助，一方面針對不符合中國期望的電影情節，在審查過程中要求刪除甚至擱置。 中美合拍片不但存在國際社會的文化爭霸，更有一國之內政治社會與市民社會的交互作用，在國際社會上，中美合拍電影的中西方文化元素交相呼應，同樣的符號在個別電影中有不同的詮釋。在政治社會與市民社會的面向上，中國政府以電影審查制度控制電影內容，來維護既有的意識型態；但電影劇組仍可以透過導演或主演的個人聲望、隱晦的針砭手法，迫使官方妥協，重構出新的意識型態。中國政府與合拍片商在彼此爭霸中，互有消長與妥協，故中美合拍片中的中國形象，呈現正負面兼有之的特徵。 / Film as an important medium for intercultural communication, it becomes one of the effective ways to promote a nation’s image. The national image is the conceptual impression of the people from other countries. In traditional Hollywood commercial movies, the image of China suffered “Orientalism” speculation. By co-producing films with American, government of China has tried to get rid of the stereotype of China’s national images. In recent year, compared to the previous Hollywood movies, the images of China in Sino-U.S. co-production films seem to get significantly improved. However, some of them still implicate Orientalism speculation. Sino-U.S. co-production films distinguish “the national image of China” from “the image of the Chinese people”, describing a society that an autocratic government and a crowd of lackey, hoping a savior from the west would liberate them. Even Chinese directors have “self-orientalization” issues, the image of China that they described in the movie is just a reflection compared with the west. Although the image of China in Sino-U.S. co-production film is the “representation”, the government of China still could use “carrot and stick” to receive the hegemony. On the one hand, they encourage and reward the producer for obeying the regulations; on the other hand they use censorship as a punishment. Sino-U.S. co-production film not only consists of the cultural hegemony of the international community, but also includes the interaction between political society and civil society in the domestic system. In the international community, the same symbols of Western/Eastern cultural elements has different interpretations of individual Sino-US co-production films, and in the political society and civil society, the Chinese government regulates movie contents building the movie censorship system to secure the existing ideology; But the director or big shots still can use their expand their personal Influence, or metaphor in the script, to force the authority to compromise and reconstructs a new ideology.

本研究主要以文化治理切入分析影展，並以台北電影節作為研究個案。台北電影節與政府的緊密關係則為本研究選擇文化治理之因。本研究先梳影展與文化治理的概念，並回溯台北電影節十八年來的歷史，最後透過田野研究與深度訪談聚焦於影展工作者。 影展研究的特殊來自其場域的高度複雜性，從多重行動者，到與產業的關係。同時影展高度受限於時空條件，例如：舉辦時間、地點、台北電影節在全球電影產業分工下的角色。全台唯一針對台灣電影設立的台北電影獎也成了其特殊之處，受惠於此的同時也深受其牽制。 台北電影節的設立與大方向訂定與政府／文化局的政策緊密扣連。然而在人事浮動和台灣政治環境下，除了「以文化作為治理方法」，也產生「文化成為被治理對象」的現象。台北電影節有過半經費來自台北市文化局，行政體系上又隸屬財團法人台北市文化基金會，必須遵守嚴格的公文、核銷請款流程。 然而卻與影展工作者特質相互矛盾，影展工作者多半愛好自由、對工作有相當執著等，也因此更容易對繁瑣行政體系產生反彈，同時影展工作常見的短聘制度更是不利公文體系的運作和經驗傳承。原以方便管理、防弊為出發的行政流程，卻吻合Foucault 談論的治理性，治理並不特定指涉國家機器，而是由不同論述推砌。除了由外向內，更同時進行主體化，成為由內向外的規訓。 / This study aims to analyze film festival through the concept of cultural governance. Due to the perceived close relationship between Taipei Film Festival and Taipei government, this festival has been chosen as the case study. It will begin by exploring the concepts of “film festival” and “cultural governance”, and the history of Taipei Film Festival and will focus on the workers through field study as well as in-depth interview. The field of film festival is highly complex. Its diversity of actors, close relationship with film industry, limited time and space, and the global situation concerning film industry all play parts in the performance of a film festival. Taipei Film Awards, a competition specialising in Taiwanese films, also makes Taipei Film Festival more confined in its creativity while brining it much resources. The close relationship Taipei Film Festival has with Department of Cultural Affairs, Taipei City Government makes its cultural aspect gets oppressed with endless administrative procedures to follow in order to gain financial and administrative support. Culture, in this case, has turned into a tool of administration; while on the other hand is ruled over by political decisions as well. The strict administrative procedures pose strong contrast to the nature of film festival workers as they often develop a system on their own to deal with the tons of work that befall on them. They therefore tend to oppose onerous oversight. On the other hand, the short-term contracts, which are common in film festival, also keeps the system from working fluidly. Administration is now coherence with what Foucault called “governance”. Instead only refer to government, governance is about different discourses. Governance is a process of subjectification, not only from to inside, also become the discipline which works from inside to outside.

金馬影展對台灣藝術電影影迷而言，就像是場神聖的盛宴，在這場儀式中，透過群體的力量，讓信念的力量益發強大。本研究嘗試依循「朝聖」（pilgrimage）的角度，將金馬影展的觀影者，視為一種信仰著藝術電影教派（cult）的信徒，他們的身份不只是閱聽人或消費者，而是一種參與者（participants）。 本研究分為三階段進行。第一階段針對金馬影展三十年來（1980～2009）的影片清單進行歷史性檔案研究，歸納出金馬影展播映影片的脈絡。第二階段對影展觀眾進行問卷調查與參與觀察，以期歸納出金馬影迷的外在觀影行為，並透過田野調查實際了解金馬影迷的參與過程。第三階段則是對影迷進行深度訪談與生命史訪談。在影展現場找尋了78位金馬影迷進行訪談，另針對3位具代表性的影迷，分別透過他們參與金馬影展的經歷，來進一步認識歷年金馬影迷參與的過程。 本研究發現金馬影展的儀式概念（The Cult of Film Festival）主要來自於三者：在時間性而言，因一年一度有如逢年過節的「週期性」而營造了儀式感；在空間性而言，因影片與影迷的「齊聚性」而營造了儀式感；除了這兩者之外，要達到類宗教的景仰標準，勢必還要有「神聖性」的概念，其神聖感則是來自於電影大師的作品，所帶來的崇拜心態。 至於影迷的朝聖歷程，本研究以三位影迷的生命史作為引述，介紹20、30、40歲各個世代的影迷，究竟是什麼樣的樣貌。而後根據大量深度訪談、田野觀察與問卷調查的結果，搭配儀式結構的模式，描繪出金馬影迷單次旅程與生涯歷程。在單次旅程的部份，可以分作「前影展時期」、「影展時期」與「後影展時期」，三者中尤以前影展時期的套票搶購與排隊劃位最具儀式性特質。在生涯歷程的部份，亦可分作「前影迷階段」、「影迷階段」與「後影迷階段」，此三者之間主要差異，是以對電影的重視、迷戀與可犧牲程度作為劃分標準。 / For art cinema fans of Taiwan, Golden Horse Film Festival just like a sacred Feast, fans gathered together every year, that increasingly the forces of faith in the ritual. This study attempts to follow the "pilgrimage" view, to imagine that Golden Horse Film Festival audience as the cult followers, their identity is not just the audience or consumers, but a participants. This study is divided into three stages. First is the archive research of Golden Horse Film Festival for the thirty years (1980~2009). Second is the festival audience questionnaire survey and participant observation, to understand the fans viewing behavior. The third stage is life history interviews. The study found that the “ritual” or “cult” concept of Golden Horse Film Festival mainly from the three points: the timing, the result of annual holidays, like the "cyclical" and created a sense of ritual; in the space, for film and fans of the "gather" of the ritual to create a sense; In addition to these two, the religious admiration to achieve the standard class is bound to also have "sacred" concept, its sacred sense is from master's work in the film, brought the worship mentality. For fans of pilgrims journey, the study quoted by three fan’s life history, describes the various generations of 20,30,40 years old. Then according to a large number of interviews, field observations and findings of the survey, with the ritual process model depicts a single journey and the career of the cinephiles. In a single part of the journey, we can divided into "pre-festival period", "Film Festival Period" and "post-festival period". Part in a career of the cinephiles can be divided into "pre-cinephile stage", "cinephile stage" and "post-cinephile stage", the main differences between the three is based on the film's importance, degree of obsession and expendable as the division of standard.

本論文以德國威瑪共和（Weimarer Republik, 1918-1933）為時代框架，從「跨藝術互文性」（interart intertextuality）觀點出發，探討納博科夫（В. Набоков, 1899-1977）如何將繪畫、音樂與電影元素置入文本，進而發展小說中有如電影般的視聽意象。 第一章以宏觀角度探討威瑪文化的跨藝術性，從中討論1920年代「俄羅斯柏林」（русский Берлин）與納博科夫的關聯性；第二章從繪畫、舞台及電影角度看待納氏文字中的畫面建構；第三章分析首部短篇小說集《喬布的歸來》（Возвращение Чорба, 1929）的視聽表現；第四章運用電影語言剖析長篇小說《國王，皇后，傑克》（Король Дама Валет, 1928）蘊含的電影畫面意象；結論從時代環境與納博科夫的書寫風格歸結出作家的「跨藝術」詩學。