彈性的生產與認同：鑲嵌在冷戰東亞與文化位階中的「合拍劇」

Abstract

本文首先針對台灣電視近年出現的「合拍劇」予以考察字源名稱流變，整理「合拍劇」在台灣引發的相關爭議，以冷戰為方法，嘗試出一條非國族、非本土的流行文化批判路徑。

本文回顧了三台時期「合拍劇」如何以「赴大陸拍攝」的本國電視劇嵌入台灣電視場域這段歷史，國家、媒體與社會三者多元決定了解嚴初期台灣電視文化的疆界。第二、本文探究大中華意識型態在台灣解體之後，對台灣電視來說，「合拍劇」意味著電視人市場重心轉變與生產彈性化、台灣社會內部國語文化與鄉土文化的意識型態鬥爭之延續、以及台灣社會的國家／族認同危機。第三、本文以「合拍劇」作為台灣電視去疆域化模式切入，初步探討了台灣商業電視的「台灣性」是一種深度不足的電視娛樂文化，奔波兩岸的台灣商業電視人則展現出彈性化短線操作兩岸市場的適應能力。The thesis examines the origin and transformation of recently-called He-Pai-Ju (co-produced TV drama of Taiwan and China) in Taiwanese television industry in Chapter 1 and takes the Cold War as a method to explore a critical approach other than national/anti-transnational/anti-regional popular culture criticism in Chapter 2. The research method is elaborated in Chapter 3. Chapter 4 reviews the way He-Pai-Ju was embedded in the Taiwanese society just stepping out from the Cold War era. The state, media, and society over-determined the boundary of Taiwanese TV culture in the late 1980s and early 1990s. Chapter 5 then concludes that in the 21st century, He-Pai-Ju symbolizes the flexible production of Taiwanese TV drama, competes in the ongoing cultural ideological conflict between Taiwan nationalism/localism and Greater China nationalism, and deepens the national identity crisis in Taiwan. Taking He-Pai-Ju as an example of Taiwanese TV industry’s transnationalization, Chapter 6 demonstrates the ‘Taiwaneseness’ of the de-territorialized Taiwanese TV culture, which means a shallow and flexible melodramatic entertaining culture.