本研究按照歷史進程，將台灣的影評依照書寫背景轉變的重大事件劃分為三個時期，逐期分析並接續整體影評生態在社會與物質環境中演變的歷史過程。本研究分析的重點在於自新電影以來不同背景脈絡與書寫／認知邏輯的影評人如何在總體社會場域中進行文化政治與文化經濟的權力及資本角逐。而在社會環境與物質條件演進的背景中，大眾媒體、新興媒體以及其他相關機構的邏輯又是如何介入並影響影評人的定義、形成、書寫與活動。 從電影評論的歷史與本質之探討開始，本研究透過Bourdieu對藝文產業生產二元次場域的分析架構、對文化中介者角色與功能的描述以及藝文商品與消費發展之歷史脈絡的論述，對照影評相關的中外理論文獻，嘗試建立能夠有效研究影評現象的社會學與政治經濟學理論架構，並針對活躍於不同時期的多位影評人與相關業界人士進行深度訪談。 研究發現，新電影時期由於解嚴前政治氛圍以及有限的媒體篇幅，二元價值體系與書寫邏輯的影評人透過不同的平台與市場，累積符號資本並建立社會資本。在新電影運動興起時，不同的影評勢力以及片商／媒體的商業邏輯結構產生辯論與碰撞，確立了台灣電影市場的二元特質，在論述上佔有優勢的影評群體取得影評人定義的想像，卻也確立了影評人文化菁英，與大眾意見脫節的階級位置想像。而隨著電視、錄影帶的普及以及電影在國民娛樂消費中性質的轉化，物質環境的變遷逐漸稀釋了影評之於一般電影觀眾與發行商的重要性。在網路出現後，部落格與社群網站等應用更是不斷地更新電影資訊與評論的產製形式與接收方式，透過數位經濟的邏輯與數位文化的規則，對影評的定義以及影評人的形成及書寫表現產生明顯地影響。 / The research divided the history of film critique of Taiwan cinema since 1979 into three periods and illustrated the transforming process of each period, especially on the politic and economic conflicts of film critique, as a field of cultural production. Futhermore, the research also discussed on how the definition, cultivation and activities of film critique was affected by social and material changes. Through the aspects of Pierre Bourdieu’s study on the field of cultural production and historical progress of cultural commodities, the research tried to build a theoretic structure on the analysis of film critique, and explored the actual interaction between film critique writers and social structure by literature review and interviews. Since the press industries declined, and the social networks flourished on the internet, the credibility of traditional film critique had been challenged. At the time when everyone can share film critique online, the relation between mass media and film critique has changed from equally cooperation to governing by the media, and the background of film critique writers has also changed from professional film workers or scholars to famous bloggers who could generate many readers or click-rates online. Meanwhile, since their publication space transfered from newspaper to blog or community website on the internet, the film critique as a form of cultural production in digital age has separated from the press and film industries, and combined with digital economy of Web 2.0., even 3.0.