合宜的笑聲：美國家庭情境喜劇《我愛露西》在臺灣

Abstract

《我愛露西》（I Love Lucy）是臺灣電視公司播放的第一齣美國電視情境喜劇，在臺廣受歡迎與議論。二戰後美國盛行的電視情境喜劇展現了新的家庭敘事結構，重建主婦形象與消費社會的家庭景觀。然而對1965年仍在備戰狀態的臺灣而言，電視作為新的共時性視覺娛樂型態，觸動了社會群體的新感官經驗，電視情境喜劇尤為歡樂的情感經驗如何容納於當時的冷戰局勢之下，便引起文化菁英關於文化正當性的討論。本文檢視冷戰時期的文化菁英如何討論通俗文化中的美國，並分析美國做為自由與進步的象徵如何與生活情感構連。本文指出，在面對國家的政治與歷史挫敗時，國族主義的宏大敘事以「國難當前」、「富強建設」這兩種衛戍與發展的論述同時展開，特定的社會差異（如性別和省籍）被重劃，以便動員來支援國族主義。文中分析以下幾點：一、美國電視劇在臺灣盛行的社會條件；二、文化菁英發表於報刊上的「輿論」如何討論性別與國族主義，以及「自由」的美國與我國的現代化。

This paper analyzes how Taiwan society comprehended American television situation comedy I Love Lucy in the 1960s. At the early stage of television development, approximately 40% of television programs in Taiwan were imported from the U.S. Among them, situation comedies were popular and widely discussed for their fascinating new formats and the modern lifestyle they represented through the images of housewives. However, certain debates arose as television intrigued the public with novelty, especially the situation comedies were considered too hilarious for a war-torn state. In the discussions of American comedy, I Love Lucy routed the cultural elites to come to terms with their defeated memories in 1949's Mainland China, and to re-evaluate the new American style of humor. They discussed if it was proper to laugh in a tragic time, as well as how to contain such affects and sensations of TV experiences in the Cold War era. This paper analyzes how the elites articulated the concept of ＂free＂ and ＂modern＂ America at different levels-materially and ideologically, by way of Lucy the humorous and unruly American house wife.