國片輔導金制度研究

Abstract

本研究首先檢視1990年代台灣電影工業處境與國片輔導金的總體表現，然後回顧輔導金自1980年度實施以來，片商、導演、影評與媒體對新聞局施加的各種作用力，以及新聞局在各種作用力逼迫之下逐年修正的輔導金要點。本研究認為，政府始終沒有清楚界定輔導金的政策目的，於是就無法採取相對應的輔導金發放政策，以真正解決台灣電影的問題。 好萊塢影片席捲全球電影市場，台灣面臨的困境並非特例，但其他國家的電影產業卻還是維持了一定的市場佔有率。本研究因此根據各國的電影輔導政策，歸納整理出三種模式，他們各有不同的政策目標，也需要不同程度的政治力與財力介入。台灣雖無法全盤移植其他國家的成功經驗，但或可以從這三種模式找出改進之道。 根據台灣過去產生的輔導金弊端，並與其他國家之電影輔導政策相比較分析之後，本研究認為，單靠發放上億元的輔導金，實在很難達到提振產業的目的，但若是將輔導金施行目的明確定位為「文化政策」，用以輔導「新導演」與「藝術電影」，或可使得輔導金達到更有效的運用。

Since the subsidiary grant for Taiwan cinema was implemented in 1989, film producers, directors, critics, and media have been fighting among themselves, trying to scoop a share of the grant. The government, under pressure from all sides, changes rule of the game every year with unsuccessful attempts to please everyone. But Taiwan film industry still suffers from serious recession. Hollywood has dominated international film markets for decades. Many countries implement different policies to support their national cinemas. After a comprehensive analysis of those policies, this research concludes with three models. Each takes different budgets and procedures in order to accomplish various goals. In no way can Taiwan copy these models as a whole. Still, their experiences may help to improve the current situation. Reviewing problems resulting from the film subsidiary policy of Taiwan, while learning from the experiences of their countries, this thesis argues that the subsidiary grant (more than one hundred million New Taiwan Dollars) alone cannot save Taiwan film industry. In order to spend the grant properly, this thesis proposes that it should be allocated to produce art-oriented films and to invest in new directors.