跨國製作對台灣電影製作影響之探討：以《雙瞳》為例

Abstract

2002年由哥倫比亞亞洲製作出品的《雙瞳》在當年度台灣華語影片市場表現突出，這部台灣主導製作的驚悚影片儼然有著國際電影的格局。相對於近年來台灣電影在市場被邊緣化的頹圮現狀，延續著《臥虎藏龍》以降華語影片合製走向的《雙瞳》具有的討論價值將不只在影片的質素與包裝，更涉及了製作產業跨越國界的相關課題。本研究便將分析焦點放在《雙瞳》在內容上的商業性設計意識以及製作架構上的制度衝擊。 本研究採取政治經濟取向來檢視全球化的結構性基礎，與時空劇變下的流動特質造就的全球空間化氛圍中，文化內涵如何產生商品化的質變，並呈現全球流通的現勢，進一步採用電影產製的全球文化勞動分工與全球電影市場的階層觀點。將這個論點解讀《雙瞳》的製作，顯示了今日跨國影片的商業性與好萊塢 製作特性息息相關，影響的層面不再只是西方觀點的全盤移植，而是對於更多文化元素的尋求，但是商業的市場考量多先於電影的文化再現功能。舉凡驚悚類型、通俗性、高概念的意識貫徹，乃至製作制度的移植、選擇與執行準則，在這部商業影片的製作中都比在地文化的呈現、產業的能耐展現來得更明顯而全面。 在有關《雙瞳》的個案分析裡，本研究初步整理出了今日著重影片質素與商業能力的跨國取向電影製作所採取的「可攜性」原則，其包含了產品特出性與大眾性的兼顧，更抓緊了制度層面的充分支持。「可攜性」除了代表著產品的參考準則，更是跨國（或是大型）資本製作在做區域選擇時的競爭性條件，其帶來的製作方針與模式趨力以及權力關係，將是台灣電影製作產業在這個新世紀所面對的重大課題。

The mystery thriller “Double Vision”, presented by Columbia Pictures Film Production Asia(CPFPA), released in 2002, reaching a very outstanding box office in Taiwan Film Market. This International scale Production is a continuance of CPFPA’s “Crouching Tiger, Hidden Dragon”, and also a initialization for New model of Film production in Taiwan, This Commodificational influence in on the cultural, and also institutional, and this is what article try to examine. This Article uses the Political Economy approach, clarifying the Structuration, Spatialization, and Commodification aspects of Cultural Globalization, suppurting with the discourse of New International Division of Cultural Labour(NICL) and Global Film Market System. When applying these aspects in the case of “Double Vision”, it shows the close connection between transnational film productions and the properties of Hollywood. It means not only the reuse of Western cultural viewpoint, but also the mixture of cultural elements, and furthermore, the same emphasis of seeking commercial success, rather than cultural representation of a film. Through the case study of “Double Vision”, this article summarize with the existence of “portability” in high quality international film co-production. The portability calls for the coexist of cultural characteristic and popularity, and also the support of specific effective institution of production. The portability is about the issue of production and competitive criterions, also the power relationship, these surely are the major challenges of Taiwan film production in the 21st century.