影舞者的夢醒時分：小眾影迷習癖與場域之分析

Abstract

本論文透過深入訪談的質性研究，探討小眾影迷電影習癖與品味的養成場域──電影課程、電影社團、電影、影展、電影台、電影書籍、網路、電影機構以及文化仲介者等電影學習或觀賞場域。此外，也試圖了解迷戀藝術電影的影舞者如何在生活中實踐「迷」的身分？究竟「影舞者」是什麼樣的電影觀眾？本論文亦企圖藉由電影文本、電影院、影展，以及更具體的西門町空間，四個層次的空間向度，了解小眾影迷的空間展演場域與彼此間的複雜關係。 一部部充滿符碼的「藝術電影」，猶如一個個的抽象夢境。小眾影迷喜愛作夢，具有釋夢解碼能力，擁有通往夢境的秘技與通道。小眾影迷並非擁有天賦，天生具有藝術鑑賞力，而是和在各個場域中積累的文化資本關聯甚大。所謂「藝術電影」與「商業電影」只是片商與影展策展單位的分眾行銷策略，小眾影迷也藉由這樣的分類機制，建構與他人的差異，劃清與一般觀眾的界線，並滿足晉身文化精英的想像。表面看似以「藝術」為號召的小型主題影展，其實都是商業影展，服膺資本主義邏輯，以市場票房為最終目標。 西門町發展迅速而多變，是個充滿異質性的地方，是個複雜多元的空間文本。夢醒時分，影舞者離開漆黑的作夢場所，走入熱鬧的西門町人群與空間﹔在夢境中對電影的熱情，剎那間轉卻變成對週遭環境的冷漠與疏離。影舞者並非特殊族群，而是和一般人一樣，具有多重身分：影舞者也是迷，更是消費者，以及只有在偶然時刻才會察覺的市民身分。電影文化資源的嚴重南北差距，造成小眾影迷的難以歸鄉，本論文最後亦探討台灣小眾影迷的在地特性、生存條件與焦慮。

By a qualitative research of in-depth interviews, the thesis attempts to analyze art film fans’ habitus, taste and such fields for habitus formation as film courses, film clubs, films, film festivals, movie channels, film books, Internet, film institutes and cultural agents, etc. Besides, I try to understand how art film fans practice their fandom in life and what kind of film audiences they are. I also endeavor to discuss their spatial fields of performance by means of four spatial dimensions---film texts, cinemas, film festivals and the concrete space, Xi-Men-Ding. “Art” films, filled with codes, resemble abstract dreamlands. Art film fans love dreaming. They have acquired the code-deciphering competence and secret skills, and have got familiar with the access to dreamlands. It is not because they are gifted or have art appreciation by nature; in fact, it has something to do with their cultural capital accumulated in assorted fields. The distinction of so-called “art films” and “commercial movies” are merely the result of a marketing strategy aiming at specific groups of audiences by distributors and film festival organizers. By this distinction mechanism, art film fans also differentiate themselves from others, keep the boundary against general audience and also satisfy their imagination of being cultural elites. The apparently resembled art film festivals are actually commercial movie festivals, following capital logics, with the ultimate target of success in box office. Awaking from dreams, art film lovers leave the dark dreaming places and come into the bustling crowds and the space in Xi-Men-Ding, juxtaposed with differences and multiple cultures. Nevertheless, their passion about alternative films suddenly turns into indifference and isolation towards their surroundings. Art film fans are not special groups, but as ordinary people, having multiple statuses. They resemble fans of other fields and are also consumers, claiming for their rights. They become aware of their citizenships only in contingent moment when they get dissatisfied with a certain policies. The great gap between cities and countries results in art film fans’ difficulties returning hometown. In the last part, the thesis attempts to explore the local characteristics of art film fans in Taiwan, their living conditions and anxiety.