文化創意產業的消費文化:場域與閱聽人

Abstract

中文摘要 從文化政策促動文化創意產業的應運而生，文化創意產業的經濟樣貌，以指定的社會空間與閱聽人消費文化所交互作用而成。對於閱聽人而言，文化創意消費是社會融入與休閒活動的生活方式；政府推動文化創意產業，則是為了跟上世界潮流並凝聚社會意識與活絡產業活動。據此，本文援用「場域」、「消費文化」作為分析框架，探討指定的社會空間對產業活動的效益，以及閱聽人參與社會活動的分析內容。研究方法援用質性研究，進行3位文化創意產業相關人員與7位閱聽人，共計10人次的深度訪談，輔以2次參與觀察，以及二手資料蒐集的方式。 研究發現，第一，文化創意產業在台灣推動的特殊性在於，將文化與創意合併為單一產業，一來為了迎合多數產業的發展性，再者是政府整併了許多其他國家的文化政策內容，為盡早跟上世界潮流所致定義不明與不知所云的狀況。第二，目前台灣首要以「文創園區」此種社會場所作為主要產業活動推動的場域，如此一來，文化創意產業的經濟效益都是由閱聽人的消費文化所構成，使得文化創意產業流落消費文化的俘虜。

關鍵詞：文化創意產業、文化政策、社會場所、文創園區、消費文化

Abstract In Taiwan, Culture Creative Industry was promoted by the government. The revisiting of Culture Policy was seen as an economy growth driver. Therefore, the government rebuilt the social spaces as fields- Cultural parks. For the audience, to engage and to experience leisure is to be social included and being life-improving. In the study, ‘social policy’, ‘social spaces’ and ‘consumer culture’ are invoked as analysis frame to understand how the cultural parks could benefit the participants of the culture creative industry, also, to know the thoughts of the audience about the relationship between culture creative industry and the meaning of consumption behavior. In the research, in-depth interview, participant observation and second hand data analysis, three quality research methods are conducted to understand the core issues of culture creative industry happening in Taiwan. The most important findings are: the culture creative industry is conducting without coordinated policy and industries; the cultural parks are the main fields for the industry growth, however, the most activities happened here are based on the consumer culture. Which means the government tries to create a national aesthetics through culture creative industry provision, but it turns out to make the audience become slaves to the consumer culture.

Keywords: Culture creative industry, Cultural policy, Social space, Cultural park, Consumer culture