電影的另一種可能：中國獨立電影場域分析

Abstract

本研究以1990出現至今的中國獨立電影作為研究對象，採用Bourdieu的文化生產場域理論作為分析架構，試圖分析中國特殊脈絡下獨立電影場域所面臨的背景條件，再得出獨立電影生產場域中的各個行動者位置攫取的實踐，以及鞏固位置佔據合法性的策略。分析第一部分從客觀出發，分三個階段闡述了中國獨立電影所遭遇的社會背景與條件，以及隨之變化的場域面貌；第二部分則回到主觀視角，從創作者的習癖、資本、位置與策略來看他們與場域變化之間的動態關係。 研究發現，中國獨立電影發展過程中，中國社會正在經歷「政治保守、經濟開放」的資本主義轉型，經濟發展令電影有了獨立的可能，而政治因素的排擠將獨立電影推向海外，從而獲得更高關注度，2000年之後DV、網路等新科技的出現，則大大降低了電影製作的門檻，進而推動了國內一系列旨在推廣獨立電影的民間影展。 在如此條件之下，獨立電影的實踐模式可以分為三類位置來討論：「積極拓展型」的專業導演以電影為主業，積極尋求各方面資源，其中又存在「國際合製」、「回到體制內」與「個體戶」三種實踐模式；而「個人表達型」的創作者則是在正職工作之外進行獨立電影製作，他們的實踐則可以分為「純藝術創作」與「平權運動」兩種模式；「習作分享型」則大多是影視相關專業的學生或業餘創作者，他們會將習作放到網路上，或者參加民間影展以獲得更多關注。即使位置不同，中國獨立電影的風格與題材大多走紀實路線，屬於主流電影中難以關照之面向。可見獨立電影在中國真正的意義，不在於藝術與商業的區隔，也不全是體制內外的政治對峙，而是自覺或不自覺地站在所有主流電影的對立面，突破電影工具性以外的另一種可能。

The thesis attempts to analyze the change on Chinese Independent Films from 1990 to 2013 by applying Bourdieu’s study on the field of cultural production. The first part is to find out the objective conditions of the field in different period which especially focuses on the context of China. The second part discusses about each independent director’s subjective responses to each position they are given in the field.

The study found that Chinese society is following a special path of capitalism transition which is open in economy but conservative in politics. In this way, the development of economy made the independent production of films be possible. The political power pushed the independent films outside the country where get them higher attention in to the international stage. After 2000, the new technologies like DV and internet lower threshold of film production and more and more nongovernmental films organizations improve the impact of independent films.

The practice mode of Chinese independent films can be concluded as three positions. First one is the mode of “positively expanding”, which also included there kinds of strategies: “international united production “,”back to national system” and “individual trying”. Second mode is about “individual expression” that the agent concerning more about “pure art” or “equal right movement”. Last, Most directors took the “work sharing” mode are media-related students who need to get their works exposed. In conclusion, Chinese independent film is always in opposition to mainstream films which served as a tool for entertainment or ideology.