李安在2007年舉辦的「世紀電影講座」中表示：「世界沒有自由，電影可以讓人躲在框框（電影院、鏡頭）裏求自由。電影是夢想，創作者要盡量把夢經營得很吸引人。」他和多年的美國搭檔；製片兼編劇的James Schamus共同提到《臥虎藏龍》之所以能在美國大賣，是因為剛好迎向了美國次文化（subclture）轉型的需求；1943年美國戰爭時期上映的戰爭電影《卡薩布蘭加》（Casablanca）並未受到觀眾的青睞，卻在70年代新好萊塢時代來臨之後重映掀起了「cult」（特定群眾狂熱追捧的次文化類型）的熱潮。James Schamus認為一般人所認定的好萊塢就是大而奢華的代名詞，其實是一種意識形態的錯認，有很多型態的經營方式在好萊塢進行著，但他認為李安唯一不變的信念就是「創新」，雖然是躲在框框裏圓夢，卻不斷的打破框框。「電影小子」Steven Spielberg，也對電影的「點子」（idea）著迷。 美國是全世界電影事業發展得最蓬勃的地方，也是佔領我國及亞洲票房的最大贏家，此等成功並非偶然，美國也曾經面臨片場制瓦解之後的危機，但隨即能夠在電影敘事技巧（類型走向高概念）及發行體系的調整後更上高峰。近幾年，香港導演、明星進軍好萊塢及李安《臥虎藏龍》效應之後，東西方電影界似乎有了新的合縱連橫機制，這也率先挑戰了編劇的跨文化敘事技巧，正如李安所言：「在創作這類的題材時，要常常考慮到，並不是只有我們自己在檢視自己的文化。」 電影劇本是電影企劃案的最先鋒，和完成的電影之間還有一大段距離，編劇得在擇善固執與纳百川意見之中展現過人的智慧。

本片以1979年至1983年間台灣盛行之「社會寫實片」為紀錄題材，片名「台灣黑電影」乃諧仿「台灣新電影」而來，意指「社會寫實片」不論在內容、形式與社會評價上，皆與「台灣新電影」全然相反之黑暗與通俗氣質。 「社會寫實片」的主題包括犯罪、色情與暴力，一直被論者認為是粗製濫造且壞品味的商業類型，本片企圖將「社會寫實片」的內容與其生產當時的政治社會情境連結，舉例說明「社會寫實片」的黑暗影像乃是當時社會集體壓抑與焦慮的轉化。 本創作報告分為四個部分：一、前期企畫：說明本片拍攝動機、內容綱要、形式思考及預期成果；二、拍攝紀錄：包含本片實際攝製期間的工作進行紀錄；三、影片推廣及宣傳：說明本片的推廣方式、映演紀錄、觀眾反應及宣材製作；最後則為導演完成此紀錄片案後的拍攝後記。 / Prevailing in the early 80's in Taiwan, "social realistic movies," also referred to as "black movies," were suffused with crime, sex, and violence. Though box-office hits, black movies are often regarded as distasteful and cheap in film history. Paralleling these movies with political or social events at the time, however, one will find that they were in fact a reflection of the widespread suppression and anger people felt towards the changing environment. As the early 80's was a time when Taiwan underwent economic transformation and the transfer of political powers, the morbid and shocking images in these films seemed to have spoken for the society's collective fear of uncertainties in a tumultuous period. This report devided to four parts: The first part is the motive and the plan of “Taiwan Black Movies” film making. The second part is the making record of the film. Follow the third part contains the screening and promotion of the film. The final part is the director note after the film making plan completed.

有鑑於近年台灣出現一系列以小品模式呈現之同志題材電影，且能與社會情境多方呼應，本研究遂擬由類型（genre）的觀點，借用「青春系列」之名，探討此一類型究竟呈現出哪些樣貌特徵，如何演變？是否具備做為一種電影類型的要素？而其特徵與演變反映、關聯到什麼樣的社會文化等情境因素？類型特徵與社會脈絡間如何互動？是否呼應吻合，抑或有落差不一之處，又各如何詮釋？ 在研究方法上，本研究挪用J. Swales「文本∕情境導向類型分析程序」(text-driven/situation-driven procedure for genre analysis )，試圖結合二者，除選定《藍色大門》、《十七歲的天空》、《盛夏光年》以及《渺渺》等四部範例文本，整理其「內容」、「風格」、「結構」與「目的」外，也指認出特定傳播情境，探討此類型的生成因素，以期能夠在雙向考量下，呈現出文本與情境間相互作用的連結關係，亦即類型的動態本質。 研究析論結果確實指向類型與情境脈絡之間的緊密構連。「青春系列」同時受到外來作品在概念手法上啟迪，又承繼著在地同類作品的核心傳統主題，成就出兼容並蓄的特殊風貌。而台灣社會對於同志議題在公私領域不同層次上，既開放肯定又有所保留的態度，也恰能解釋類型社群基礎。另外此類型於台灣電影工業低潮應運而生，低迷的產業活動召喚了像「青春系列」這樣具有彈性、定位明確並可預期回收成本的小品，系列作品的成功也帶動整體產業谷底反彈，更反映出台灣電影工業發展方向轉變的時代意義。 / In view of a series of Taiwan’s gay themed films appearing in a sketch mode in recent years and their topic have always responded to the social contexts in multiple ways. Thus, this study adopted the point of view of “genre”, borrowed the name of “Young Line”, and then to explore what appearances and characteristics this kind of films had presented, how they would change in the future, and whether they possessed those elements to be a genre of films. Moreover, what kind of contextual factors such as social cultures that the characteristics and changes of those films reflected and had been related to? How did the characteristics of this genre interact with the social contexts? Whether they responded to the coincidence or there were differences between each other? Then how to interpret each kind of these situations? This study adopted J. Swales’ “text-driven/situation-driven procedure for genre analysis” as the research methods, and attempted to combine these two procedures together. “Blue Gate Crossing”, “17 Formula”, “Eternal Summer”, and “Miao Miao”, these four films were selected to be the exemplary texts and to systemize their “content”, “style”, “structure”, and “purpose”. In addition, particular communication situations were also identified to probe into the generating factors of this genre of films. With the two-way considerations, this study expected to present the relational connections which interacted between the texts and the situations, and that is the dynamic nature of the genre. According to the results of this study, there was a tight articulation between the genre and the situational contexts for a certainty. “Young Line” series are inspired by the concepts and techniques of foreign films; at the same time, they also inherit the core traditional themes of local films of the same genre. Therefore, the series have achieved a particular inclusive style. With regard to the gay issues, Taiwan society has possessed a positive but also reserved attitude toward the public and private levels, and this can precisely explain the community base of this genre. Furthermore, this genre of films came with the tide of fashion when Taiwan’s film industry was at low ebb. The depressed industrial activities elicited those sketch films which were flexible, clear-targeted, and expected to have cost recovery such as “Young Line”. The success of this series was one of the forces which leaded the whole industry rebound from the bottom, and this reflected the significance of the time of the change of Taiwan’s film industry’s development direction.