「書寫愛情---1990年代的日本電視編劇」專書寫作計畫
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Date
2007/08-2008/07
Authors
蔡如音
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Abstract
本計劃預以兩年時間將研究者的博士論文改寫成英文專書。書寫愛情(暫定書名)試 圖剖析1990年代於日本商業環境養成之電視作者的文化條件，並意圖理解做為文化形 式的愛情劇是如何從日本特定的經濟，社會，與歷史脈絡中逐漸滲透到跨國的影像生 產或是亞洲區內的媒界消費。本書在一開始將1990年代創作活躍的編劇放在日本特定 的腳本家文化中，進而選定四位電視編劇(北川悅吏子,野島伸司,野澤尚,淺野妙子)分別 就四個章節探討他們撰寫愛情故事的歷史,論述,及文化資源。最後一章節將處理愛情故 事在亞洲流行文化中的意涵,特別探討日本電視愛情故事如何成為亞際文化生產者間的 共同語言或是範本。本書的主要貢獻在於藉由研究孕育腳本家的日本電視文化，解構愛 情故事的普遍性，提出文化歷史的一個觀點。對於關切知識生產的亞際文化研究運動來 說，本書也提供一個對於流行作者的批判詮釋。
This proposal provides the rationale, book structure, contribution, and writing plans for the author to rewrite her doctoral thesis into a book manuscript. Scripting Love is a book that attempts to explain the cultural conditions of television authorship in Japan in the 1990s. It is committed to understanding love stories as a cultural form emerging from Japan and having implications in trans-Asian media consumption and cultural production. The book focuses on four individual writers who will illustrate diverse work histories and agencies in crafting love stories. This analysis will be further situated in the Japanese context of scenario writer culture and in the increasing use of love stories to communicate among trans-Asian cultural producers. By locating the writers in specific historical moments of love story production, my book will illuminate on the cultural conditions of love storytelling, which would in turn question the 「universal appeal」 of love stories. This understanding seeks to elaborate ramifications of 「knowledge production」 in inter-Asia. The book also seeks to recover a critical interpretation of popular writers as intellectual formations.
This proposal provides the rationale, book structure, contribution, and writing plans for the author to rewrite her doctoral thesis into a book manuscript. Scripting Love is a book that attempts to explain the cultural conditions of television authorship in Japan in the 1990s. It is committed to understanding love stories as a cultural form emerging from Japan and having implications in trans-Asian media consumption and cultural production. The book focuses on four individual writers who will illustrate diverse work histories and agencies in crafting love stories. This analysis will be further situated in the Japanese context of scenario writer culture and in the increasing use of love stories to communicate among trans-Asian cultural producers. By locating the writers in specific historical moments of love story production, my book will illuminate on the cultural conditions of love storytelling, which would in turn question the 「universal appeal」 of love stories. This understanding seeks to elaborate ramifications of 「knowledge production」 in inter-Asia. The book also seeks to recover a critical interpretation of popular writers as intellectual formations.