矛盾、溶解、劃界：從兩岸合製電影談臺灣觀眾的認同

Abstract

自2008年《功夫灌籃》在中國獲得票房的成功後，尋求中國方面資金、人力、拍攝場景的合作已然成為近十年臺灣電影產業擴大市場的重要策略。當臺灣的國片漸漸出現中國演員、簡體字等中國符號以及混合兩岸場景的狀態，被譽為「華語電影最高殿堂」的金馬獎政治風波不斷，跨兩岸藝人也時不時地出現傾中的政治認同／表態，臺灣的年輕觀眾是如何去看待、感受日漸被中國侵蝕／混合的臺灣電影，便是本文的核心關懷。

本研究訪談了20位成長於臺灣民主化後並且有在觀看兩岸影視作品的年輕人，針對《被偷走的那五年》、《六弄咖啡館》、《神秘家族》、《吃吃的愛》等四部在內容上有明顯混雜現象的兩岸合製電影，以及金馬獎的政治風波和跨兩岸藝人的政治認同／表態進行討論。本次受訪的對象，除了來自不同領域的背景之外，喜愛收看的影視內容也各有所異，大致上可分為三種不同的面貌：臺灣電影產業相關工作者，包含製片、剪輯、美術、電影部落客等、喜愛觀看中國影視產品的觀眾，包含時裝片、古裝片、獨立電影等、以及其他偏好好萊塢巨製和日韓電影的觀眾。

本研究將觀眾同時具備的政治化公眾身份揭露出來，在合製電影、金馬獎等兩岸並存的空間當中，觀眾與政治化公眾兩者的角色將如何協商，以及對於中國文化產品的認同與傳統的國族認同之間會產生什麼樣的關聯。

研究發現，本次的受訪對象即便都成長於民主化的時代，卻因著喜愛收看的電視電影內容、文化資本以及與中國的互動經驗，這群臺灣年輕觀眾對於兩岸合製電影以及政治攪動影視產業的風波，持有了各種不同的解讀脈絡。喜愛觀看中國影劇的臺灣觀眾，明顯地能夠適應兩岸的演員／口音以及場景混搭的狀態，這群觀眾面對跨兩岸藝人傾中的政治認同／表態也展現較高的包容。對於注重電影的觀眾來說，則展現出「藝術應該超越政治」的價值，拒斥「政治黑手」伸進電影的「殿堂」當中。而沒有對中國影視產品有特殊的觀影偏好以及僅將電影視為休閒娛樂的觀眾，在面對混雜兩岸的電影文本時則展現出較高的民族主義情緒，以及國族認同是不可被協商的態度。Since cross-strait co-production film Kung Fu Dunk succeeded at the box office, seeking cooperation opportunities with China become the most important market strategy of Taiwan film industry. Taiwanese film started incorporate the actor/actress from China, simplify Chinese characters and scenes combined with Taiwan and China. Besides, the Golden Horse Awards which be known as the most important film festival of Chinese-language Cinema was caught up in by the cross-strait political issue. At the same time, more and more cross-strait actors/actresses stated the political identity of Taiwan is a part of China. This thesis talks about how young Taiwanese audiences feel while Taiwanese film “invaded” by China.

This thesis interview 20 young Taiwanese who have experiences of watching cross-strait co-production film and grown-up after Taiwan became a democracy country. This study specifically discusses four cross-strait co-production film, The Stolen Years, At Café 6, The Mysteries Family and Didi's Dream, and the political debates of the Golden Horse Awards as well as the political identity of cross-strait actor/actress. The interviewers could be divided into three groups: first group is whose work relative to the film industry, the second group is the audiences who enjoy China’s drama and film, and the third one is who prefer other types of the movie including Hollywood, Japanese and Korean.

This study reveals that an individual has multiple characters, such as an audience have its political ideology. How Taiwanese audience negotiate their identity while watching the cross-strait co-production film? What is the connection between cultural identity and national identity?

Although the interviewers were all grown up in Taiwan’s post-martial law, democracy era, they still have different interpretations about the cross-strait co-production film and the political issue in the film festival. This phenomenon indicates cultural identity, cultural capital and experiences of interact with China bring huge impact. For those Taiwanese audiences who enjoy China’s drama, apparently, they have more tolerance for Taiwanese film mixed with China’s culture and the China-bound career migration of Taiwanese actors and actresses. For those audiences who pay attention to movies, they are more critical of how politics influence movies. For those audiences who prefer Hollywood, Japanese, Korean movie, they demonstrate stronger nationalistic sentiments while watching the film mixed cross-strait culture and a non-negotiable attitude of national identity.