本研究旨在探討台灣和中國電視劇產業合作狀況，以及深入理解從解嚴初期至今，兩岸電視劇交流無論是法規或產業的變化對台灣影視工作者的勞動條件和創作自主性的影響。本文援引Ryan（1992:108）對文化生產的概念，將台灣影視工作者，據其不同的生產位置分成「創意階段」和「再製階段」工作者，分別探討其勞動條件的變化。最後，再回歸兩岸合拍電視劇之政策，企圖給予台灣合拍電視劇之政策建議。 研究結果發現在兩岸電視劇的合作模式從「中國協拍，台灣主導」轉而變成「中國主導，台灣委製」的情況，而這樣的變化使台灣影視工作者的勞動處境顯得更為嚴苛。兩岸開放初期，中國電視劇製作業未臻成熟，使無論是創意或再製階段的台灣影視工作者在中國皆有較佳的工作機會與酬勞；然而，隨著中國電視劇產業的成長，投入於電視劇之製作費用明顯高於台灣時，台灣影視工作者的工作機會漸受限於中國市場的需求。在酬勞上，因中國資方會比照台灣電視劇製作費用來衡量，使得台灣影視工作者的酬勞漲幅低於中國影視工作者。 在創作自主上，本研究發現中國電視劇政策上的變化，對兩岸合作電視劇無論在人員選用和劇本安排上皆有很大的影響。同時，因為台灣缺乏鄉土劇和偶像劇以外劇種的生存空間，使得出走到中國的台灣影視工作者選擇服膺於中國電視劇的生產邏輯，傾向不牴觸中國當前的社會文化脈絡，如：台灣電視製作團隊為了通過中國官方的審批制度，製作出分別討好海外與中國市場之不同版本的電視劇。 綜合上述，兩岸電視劇產業呈現「中國大而台灣弱」的景況，台灣影視人才、技術外移中國的結果可能使台灣影視產業面臨「產業空洞化」的危機。因此，建議政府應有黃金時段限播外片之政策，建立良善的獎勵與輔導機制，例如：影視基金的規劃與落實。如此才有機會吸引台灣影視工作者回流，增加本地影視工作者之工作機會和多元劇種的生存空間。 / Increasingly, seeing as domestic TV market shrank could leave local TV drama workers jobless, Taiwan TV workers chose to develop their career within larger market. Due to linguistic and cultural similarities, Chinese vast market becomes the best choice for Taiwan TV workers who are looking for new opportunities. The study aims to explore the TV drama cooperation between Taiwan and China, and to review two side’s TV drama co-production policies from 1988 until now, and to figure out the impact of the two side’s TV drama industrial change on Taiwan television workers which involve labor condition and creativity autonomy. According to Ryan （1992:108）’s conception, the essence of the organizational division of labor in corporate production systems is divided into two distinct stages: creation and reproduction. Therefore, the definition of television workers includes creation stage workers and reproduction stage workers. As the result of the study, the rise of China TV drama industry has changed the partnership between Taiwan and China. In the past, China was represented as the assistance in the process of TV dramas production. Recently, China holds the initiative completely from research and pre-production stage to post-production stage. This situation forces the labor of Taiwan TV drama facing the more stringent labor condition. Compare to the initial Taiwan -China TV drama co-production period, Taiwan television labors’ wages do not grow. Even more, Taiwan reproduction stage workers facing the crisis of jobless in TV drama co-production model. Although the creative stage labors still have the advantage of job opportunities in Taiwan-China TV drama co-production, their creativity autonomies are limited by china’s censorship regime. For example, Taiwan TV production team might produce two different kinds of drama products catering to overseas markets and Chinese censorship required. In conclusion, to prevent the crisis of Taiwanese TV drama industrial hollowing-out effect such as the emigration of talent and technology. The study recommends our government must emphasize the importance of this phenomenon through prime time broadcast restrictions and audio-visual fund.