臺灣「時代劇」的產製（2010-2021）：民間創作團隊、電視臺與公部門的磨合試驗

Abstract

本論文主要探討2010年至2021年的臺灣時代劇產製，梳理臺灣常見的委外製作模式對於時代劇產製的影響，並且檢視政府政策的轉變，以及時代劇的產製邏輯與其社會文化意義。本文以「文化治理」與「文化治理」的研究視角出發，透過深度訪談法，訪談三位曾多次製作時代劇的導演與製作人——葉天倫、曹瑞原、陳南宏，以及公視、客臺節目部經理，試圖釐清「政府－電視臺（平臺）－民間影視製作公司」之間的權力結構與互動模式。經訪談資料與二手資料的收集，本研究從葉天倫家族的過往製作經驗，了解到在時代劇集創作中，人脈與拍攝資源積累的重要性。曹瑞原的案例則可看出民間資金與政府政策對於時代劇攝製的影響，進而檢視當前的資金補助與輔導政策。新生代創作者陳南宏與客臺的合作，則可窺見平臺如何與創作團隊的磨合。本研究同時透過公視與客臺節目部兩位經理的訪談，描繪出公共電視頻道於時代劇產製中的監製角色——尋找可參與時代劇拍攝的團隊，並協助完成作品，且因有限的資金調度，須在創作形式與內容上做出調整。經本論文可看出時代劇產製所面臨的困境，以及民間創作團隊、電視臺與公部門的互動模式，亦期許在時代劇的發展過程中，前人的經驗皆有可借鑑之處。This thesis is about the production of “Period Drama” in Taiwan from 2010 to 2021. During this period, two key processes were examined: the outsourcing model long adopted by the TV industry and the evolving cultural policies aimed at supporting film and drama development. The main methodology used in this research is “in-depth interviews.” Specifically, the researcher interviewed key programming directors at Taiwan’s Public Television Service and Hakka Television Station as well as three experienced period drama producers and directors: Yeh Tien-Lun, Tsao Jiu-Yuan, and Chen Nan-Hung. The interviewers help to reveal how the government and the TV stations interact with the showrunners. These two categories of research interviewees correspond to the concept of “cultural governors” and “cultural self-managers” as proposed by cultural policy theorist Jerry C.Y. Liu.Through interviews and the industry data analysis, this thesis uncovers different approaches toward resource mobilization. For example, Yeh Tien-Lun uses the accumulation of connections and production resources toward his company’s period drama making. In Tsao Jui-Yuan’s case, it refers to the private funds and policy of how to affect the production. As a young of the new generation, Chen Nan-Hung usually secures collaboration projects with Hakka TV Station. Analysis of how the showrunners collaborate with TV stations can help clarify the responsibility of PTS and Hakka TV. Specifically, the TV stations take the initiative to find showrunners who can shoot the “Period Drama” and support the showrunners to finish their dramas. As producers and directors participate in making “Period Drama”, they also need to adjust the format and the content due to the limited budget. This thesis reveals the difficult situation of producing “Period Drama”, and the interactions between the showrunners, the TV stations, and the public sector.