星馬地區台灣本土劇讚嘸讚？從媒體全球在地化、文化認同至迷群關係之研究

Abstract

在2001年開始，台灣連續劇在民視、三立電視台的攝製下，創造一種以當代家庭與企業的複雜糾紛為主軸，加入部分黑社會情結，強調誇張、賺人熱淚的灑狗血內容的本土劇種，在台灣大眾文化中引起風潮，而此熱潮也延燒至新加坡與馬來西亞。筆者從新聞標題：「台灣鄉土連續劇在新加坡創下破百萬人收看紀錄」以及馬來西亞Astro電視台也隨著台灣本土劇聲勢看漲的情況下，在2007年10月開辦24小時經營的閩南語電視頻道－Astro歡喜台等等因素下決定探討台灣本土劇在星馬地區的火紅現象。

所謂「文化認同」（Culture Identity）為對一個群體（族群、國家）或文化的認同（感），其分享了共同的歷史傳統、語言、習俗規範以及無數的集體記憶，從而形成對某一共體的歸屬感，並藉由體驗文化活動、生活型態與文化商品提升對某特定文化的認同程度。而本文將台灣本土劇的這群星馬「迷群」（Fandom）定義為「一群比一般閱聽眾更為注意、喜愛台灣本土劇的「熱愛者」。其對於本土劇的「涉入感」與「認同感」高於一般閱聽眾」。此外，「全球在地化」（Glocalization）係指，跨國企業（組織）考量世界各地的特殊情況，因應地方的特殊文化與風土民情，將公司或旗下的商品或服務做適當調整，以符應當地文化和社會特性及需求，並藉以增加銷售成果，是一種融入地方的行銷策略。故本文旨在，以全球在地化理論說明台灣本土劇輸出者（台灣）與輸入者（新加坡、馬來西亞）媒體間的互動機制、去地化與再地化過程，接著以文化認同與迷群理論概念探討星馬迷群為何「迷」、如何「迷」台灣本土劇，且嘗試歸納出台灣本土劇於星馬地區火紅的因素。

本文透過質性研究方法蒐集資料，以深度訪談法為主。在產製端的部分，訪問了民視、三立電視台以及新加坡與馬來西亞媒體業者，共計3人；星馬迷群的部分，以滾雪球的方式共計訪問18人（新加坡華人8人、馬來西亞華人10人）。

研究發現，民視與三立電視台將台灣本土劇推銷至星馬市場的策略採取了產品差異性、滲透式定價法、以台灣當地收視率為保證以及本土劇本身集數長的優勢策略為主。在輸出者（台灣）的內容去地化策略中，台灣媒體業者將台灣本土的歷史背景去除，並以家庭倫理劇以及分眾策略的號召下獲得星馬福建觀眾的共鳴。在形式去地化的部分，輸出者（台灣）配上當地通用的中文配音、英文字幕、重新編修母帶、修剪集數的長度以及配合舉辦行銷宣傳活動等策略。而星馬業者（輸入者）扮演較為主動的角色，他們主動邀請台灣演員或編劇到星馬市場合作拍片，並從中吸取（或抄襲）了一些新的經營管理知識（包括節目製作），並融入當地的特質，而將它轉換為本土性的一部份。

台灣本土劇讓星馬迷群著迷的四項因素：（1）情感性之認同。（2）愉悅感之認同。（3）交際性認同。（4）社會學習之認同。迷群瞭解戲劇的非寫實性，而另一方面又以現實的觀點來批評戲劇的不實之跳躍性情形。再者，台灣本土劇在星馬環境火紅的因素也經由「認同」與「文化認同」的論述驗證出對族群、台灣流行文化、語言、中華文化價值觀、台灣本土劇與港劇、星馬連續劇相似性以及星馬當地電視台的配合度上的六大文化認同面向。最後，本文嘗試歸納出改善台灣本土劇的實務策略，以讓台灣本土劇得以「在地全球化」的發展，並以鉅觀的角度歸納出本文的研究貢獻。

Began in 2001, Taiwan TV series in FTV and SET creating a content of local dramas with complex disputes for the spindle to the contemporary family enterprises, adding part of the triad complex stressed exaggerated make the person tears. Causing such a stir in the popular culture in Taiwan, this craze also spread to Singapore and Malaysia. Therefore, the author decided to explore the fiery phenomenon of Taiwanese dramas in Singapore and Malaysia.

Cultural identity is a group (ethnic, national) or cultural identity (sense) share common historical traditions, language, customs, norms, and numerous collective memories, to form a total body a sense of belonging, and by the experience of cultural activities, lifestyle and cultural commodities to enhance the level of acceptance of a particular culture. This article defined the Taiwanese dramas fans of Singapore and Malaysia as a group of more attention and favorite Taiwanese dramas than general audiences, likes an “enthusiasts”. In addition, the “Glocalization” refers to multinational enterprises (organizations) consider the special circumstances around the world, in response to the special culture of the local people and culture, the company, its products or services to make the appropriate adjustments to character should to cultural and social characteristics and needs, and to increase the sales results, it is a kind of integration into the local marketing strategy.

This article aims to use Glocalization theory to explain Taiwanese dramas mechanism of interaction between the media of output (Taiwan) and input (Singapore, Malaysia) country and their “de-localization” and “re-localization” process, then used the concept of Culture Identity and Fandom to explore the Singapore and Malaysia fans’ how and why their loved the Taiwanese dramas. Lastly, I try to sum up in Singapore and Malaysia’s Taiwanese dramas fiery factors. The article data collected through qualitative research methods: intensive interviews. In the part of the production system, access FTV, SET TV, as well as Singapore and Malaysia media industry, a total of 3 people. Part of the group of fans in Singapore and Malaysia, used snowball method to collected totally 18 people.

The study found that the FTV and SET TV to sell the Taiwanese dramas to Singapore and Malaysia market strategy to take the product differentiation, penetration pricing method, the local rating was assurance in Taiwan and dominant strategy-based with local dramas’ long episodes. In strategies of the content to de-localization with output country(Taiwan), Taiwan media industry by removal of the historical background of the Taiwanese, family ethics dramas and segmentation strategy to attract Singapore and Malaysia Hokkien audiences. In the part of the form to de-localization, Taiwan media industry coupled with local general Chinese dubbing, English subtitles, re-editing mastering, trim set number, length, and with the promotional activities organized marketing strategy. Besides, the Singapore and Malaysia media industry (input) to play a more active role, they took the initiative to invite Taiwan actors or screenwriters to Singapore and Malaysia to cooperate produced the films, and draw (or plagiarism) a new management expertise (including programming)and integrate into the local characteristics, and converts it to a part of the local nature.

Four factors of Taiwanese dramas fascinated by the fandoms in Singapore and Malaysia: (1) Emotional identity. (2) Pleasure identity. (3) Communication identity. (4) Social learning identity. The fandom’s understudied the dramas non-realistic, but their criticized a realistic view of the drama is not real, likes a jumping situation. Furthermore, the fiery phenomenon of Taiwanese dramas in Singapore and Malaysia via the "identity" and "cultural identity" discourse verify the ethnic groups, Taiwanese popular culture, language, values of Chinese culture, the similarity of Taiwanese, Hong Kong, Singapore and Malaysia dramas, with the degree of the local television station in Singapore and Malaysia, the six cultural identity-oriented. Finally, the paper attempts to summarized improve practice strategy in Taiwanese dramas, in order to let the Taiwanese dramas to the development of "globalization", and summarize the macroscopic angle of the contribution of this article.