本研究以 2014 年台北市長選舉期間的政治 KUSO 創作為研究對象,採用網 路民族誌為研究方法,深度訪談四位競選期間 KUSO 作品知名度、人氣皆高的 KUSO 創作者。從創作方式、創作動機與目的、創作與自我展演三大面向探究台 灣政治 KUSO 創作與創作者之關係,研究結果發現: 一、政治 KUSO 創作者是「反輔選」之「分身」:創作者將自己視為政治人物的 「分身」,把自身對社會議題的省思以娛樂包裝,透過反輔選的方式表達立 場,體現了 Bakhtin 的「狂歡化」語言。 二、創作動機是不滿政治環境:幾乎所有 KUSO 創作者都認為受到 2014 年「太 陽花學運」的影響,並以娛樂、抒發個人意見及獲得認同為主要創作目的。 三、政治 KUSO 創作者不在意反對之社群聲音:創作者雖然創作目的之一是獲 得認同感,但面對對立黨派支持者的反對聲浪不在意。 四、KUSO 只是工具,創作者意在參與、表達意見:KUSO 本身是一個傳遞資訊 的工具,在政治議題之下產生的 KUSO 就是創作者參與政治、表達意見的 方式。 五、KUSO 創作者選擇匿名以避免社交障礙:在全新的匿名身份保護下,創作者 可以暢所欲言,不用擔心自己的政治立場被眾人審議,政治性言論也不會影 響到真實生活的人際關係。

Kuso videos as an emergent Internet genre have gained its popularity among a great number of online participants, especially via the most popular video-sharing website, Youtube. The present study explores the meaning-making mechanism that operates in the production of kuso videos, which are worthy of note inasmuch as they have been more and more widely used in response to issues arising in Taiwanese society. Different from previous research on monomodal representation of kuso (e.g. written, graphic kuso), the present research takes the previous studies as a point of departure and will analyze a multimodal and multimedial kuso video uploaded onto Youtube. The analysis will center around its performance, power, and meaning potentials and seek to answer the following research questions. (1) From a multimodal social-semiotic perspective, how are the meaning potentials of kuso videos being performed in the process of meaning-making? (2) In multimodal kuso videos, what accounts as a mode and what are the affordances of a specific mode? Or, is it necessary to define mode as a separate unit which creates meaning potentials in the whole multimodal production? (3) In social-semiotic production of kuso videos, who is in control in the process of meaning-making? In other words, in the meaning-making process, how is the identity of kuso video being contextualized and being negotiated with other participants? (4) How are decontextualization, recontextualization, and identity contextualization interconnected to each other in the production and the distribution of kuso videos? To analyze the meaning-making process and meaning potentials of the target kuso video, multisemiotic models (Halliday, 1978; Lim, 2002) as well as Bakhtin¡¦s (1981; 1986) genre theory are applied as the basis of the analytical framework while ¡§projective act of identity¡¨ (Coupland, 2007) is used to account for the how identity is contextualized in the video. In addition, the present research proposes the Functional Multisemiotic Model to illustrate with examples how layers of remix operate in the processes of decontextualization, recontextualization, and identity contextualization and to elucidate what semiotic functions they serve at three levels (i.e. ideational, textual, and interpersonal levels). On the whole, this research may shed light on the intricate meaning-making process in multimodal kuso analysis.

本研究以2012年總統大選為題材，針對大選期間以競選為主題的kuso文本，分析其好笑、搞怪的背後，創作者如何表達意見參與選舉。 作為網路新興的參與政治方式，本研究根據文獻發展13項指標，逐項分析文本。研究結果發現： Kuso常以擬仿方式增添新意批評原作，或加入各種元素拼湊呈現。競選類型kuso，以攻擊候選人內容最多，攻擊對象通常是競選連任候選人，其執政表現是常見的攻擊主題。其餘類型的排行為塑造候選人形象、反駁候選人與陳述選民需求等。當作品訴求「改變」，多為要求執政者下台，換人做做看。作品中顛覆權力的方式多變俗語言是常見的拆解權力方式，但並非固定作法。創作者的「發聲」以抱怨為主，抱怨但期待回應者較少。尤其，作者駁斥競選連任候選人時往往過於簡略與情緒，理由不充份或流於個人好惡，這些都削弱反對的力度，難以強而有力的反對權力。

Existe-t-il une histoire du cinéma à Taiwan, une île qui connaît une longue et riche histoire coloniale, qui échapperait aux diverses formes imposées par les colonisateurs ? N’y a-t-il pas un cinéma résistant et indigénisé qui pourrait, en réaction aux contraintes sociales, politiques et culturelles, proposer une stratégie esthétique participant à l'émergence d'un sentiment national ? Ou faut-il attendre l'avènement d'un Nouveau Cinéma Taïwanais pour connaître un cinéma indigénisé dit “national” ?Afin de nourrir cette réflexion, la présente étude propose un retour sur l'une des formes originelles du cinéma taïwanais, au travers du personnage du benshi, en vue d’établir une histoire figurative. Deux autres figures, tâng-ki et kuso, nous permettent de développer la théorie du corps médiumnique. Cette dernière a pour objectif de construire une stratégie afin de résister aux troubles identitaires, autant dans l’espace public que dans l’espace privé. En conséquence, benshi, tâng-ki et kuso mettent en lumière une histoire cachée, une esthétique survivante, les bases d'une stratégie de résistance pour le cinéma taiwanais. / In Taiwan, the island of Formosa, where it holds a long history of colonization, is it possible for a history of cinema to escape from the various forms imposed by the colonists ? Could there be a resistant and indigenousized cinema, which offers an aesthetic strategy responding to the social, political and cultural issues ? At the meantime, also evokes a national sentiment ? Do we have to wait for the arrival of New Taiwan Cinema, which is known as indigenousized cinema to form a national cinema ?In order to explore these ideas, we will trace back to one of the original forms of Taiwan cinema, through the role of Benshi, to establish a figurative history. The other two roles, Tâng-ki and Kuso, will also allow us to develop the theory of mediumistic body, which will build a strategy responding to the identity crisis, both in public and private spaces. As a conclusion, Benshi, Tâng-ki and Kuso, which surface a previously hidden history and the surviving esthetics, become the funding bases of the resistance against colonization for Taiwan cinema.