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Title: 臺北之家誰的家?
Other Titles: Whose Taipei Film House?--The Geographically Articulated Patterning of Taiwan Film Industry
Authors: 王冠棋
Issue Date: May-2007
Publisher: 地理學系
Department of Geography, NTNU
Abstract: 本地的電影研究檢視台灣電影工業的不振,往往認為政府長期以來對於電影業缺乏制度性的規劃與文化的想像,以及好萊塢的影響,是兩項重要的因素。2003 年行政院「2008:國家發展重點計劃」,當中的「文化創意產業發展計畫」首度將傳播相關產業納入其中,同時提出了與電影有關的文化政策。與此同時好萊塢 則持續以「文化勞動的新國際分工」(New International Division of Culture Labour, NICL )收編各地文化資源與勞動力。本研究嘗試將這兩股發展趨勢置放在全球— 在地之辯證的命題下,並進一步深化NICL 的研究架構。與此同時,本文抽繹出該計畫當中的國民戲院計畫為研究對象,針對「台北之家—光點」這間座落於台北市的國民電影院之規劃及運作進行研究,試圖 從都市治理的脈絡,理解台灣電影工業的全球—在地,模式化的地理接合過程。我初步發現,文化創意產業發展計畫與台北之家—光點皆為都市企業主義之表現。
In Taiwan, the studies of film, which considering the reasons of Taiwan film industry’s failure, always regard that both government's film policies and the monopoly power of Hollywood are both main reasons. However, during 2003, Executive Yuan of the Republic of China formulated “Cultural and Creative Industry Development Plan”. This formulation includes the film industry and other communication industries in the cultural policies, which is unparalleled. While the Hollywood still dominating the NICL structure in global scope. The essay intends to deal with the “Cultural and Creative Industry Development Plan” , and the dialectical relation of geographically articulated patterning of Taiwan's film industry which practices by the “Taipei Film House” .
Other Identifiers: E41D78B3-D8AC-CB75-C45E-D1E52F3C8147
Appears in Collections:地理研究

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