好萊塢之外—台中地區非主流電影放映場域發展趨勢研究

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Title:	好萊塢之外—台中地區非主流電影放映場域發展趨勢研究
Other Titles:	Outside Hollwood:Study on the Developing Trend of the Screening Sites of Non--mainstream Films in Taichung Region
Authors:	黃瑞嬌 Huang, Jui-chiao
Contributors:	建築與景觀學系環境藝術碩士班辜率品 Shuai-pin Ku
Keywords:	文化資本;文化場域;電影;影迷;非主流電影 film fan;cultural capital;cultural field;non-mainstream film;film
Date:	2010
Issue Date:	2015-03-12 14:51:31 (UTC+8)
Abstract:	在台灣，看電影幾乎等於是「看好萊塢電影」的同義詞，電影映演市場，好萊塢電影是主流，市場佔有率最高，非主流的其他地區出品的電影，甚至是國內導演的作品都受到嚴重的影響，必須透過其他映演通路或以影展的方式包裝上映。　　　相較於台北，中南部向來不受獨立片商的青睞，許多國外影展得獎的電影或口碑良好的非好萊塢出品影片，根本不會在中南部上映，票房是最大的考量因素。因此，台北以外地區的小眾影迷要欣賞這類非主流的電影，便要透過電影院以外的管道才得以觀賞。　　　台中地區十九年前有了第一家專門放映非好萊塢電影的私人藝術電影院—八又二分之一非觀點劇場，成了台中地區人文藝術愛好者聚會的場所。最近幾年，放映這類小眾電影的場所增加了好幾處，再加上台中市政府辦理的「國民戲院影展」，使得非主流電影的放映在此蓬勃發展起來。本研究即是以台中地區現有五個非主流電影放映場域—八又二分之ㄧ非觀點劇場、萬代福影城、沙鹿電影藝術館、台灣影像部落閣及國立台灣美術館影音藝術廳為研究個案，透過實地參訪與深度訪談經營管理者，了解其成立背景與經營方式及目標，並訪談觀眾的使用經驗。對於台中市政府辦理國民戲院影展的理念與未來在電影文化的推廣方向也透過訪談深入了解。　　　研究發現：一、台中地區非主流電影的放映，由於小眾的因素，加上電腦網路的發達，下載分享便利，私人經營不易，由私人開疆闢土走向由政府提供的趨勢。二、非主流電影放映場域的設置，是文化公民權的落實與公民自主意識的提升。三、影展加賞析座談是推廣非主流電影重要的方式。四、經費短缺與新的未來觀眾開拓不易是非主流電影放映場域共同的困境。五、非主流電影放映場域是文化資本累積、轉換的文化場域。六、涉入非主流電影較深、教育及文化資本較多的觀眾，對於電影活動有較多的認知與想法，也較有使用者付費的觀念。七、公營非主流電影放映場域的設立，壓縮了私人場域的生存空間。　　Going to a movie is indeed a synonym of ＂going to a Hollywood film＂ in Taiwan. Hollywood films have the largest share in Taiwan's overall silver screen market, thus non-mainstream productions from other sources, including those of Taiwan's indigenous directors, suffer unfavorable impact and could not enjoy equal opportunity of screening, unless they are duly packaged and screened through other channels or in the Film Festivals. 　　　As compared with Taipei, Central and Southern Taiwan are not the main target markets in the eyes of independent distributors. Therefore awards winners of any Film Festivals or blockbusters of non-Hollywood production have little chance to be screened at cinemas in Central and Southern Taiwan due to its concern of box office. Consequently, audiences with specific tastes outside of Taipei need to utilize channels other than cinemas to appreciate those non-mainstream films.　　　It was not until 19 years ago when a private cinema of arts, the 8 & 1/2 Classic Theater, which specialized in screening non-Hollywood productions was set up in Taichung Region, and soon became a popular meeting point for those who love liberal arts. With a few more having been opened in recently years besides those ＂Film Festival of Citizens' Cinema＂ sponsored by Taichung City Government, non-mainstream cinemas have become a booming trend in that area. This study focuses on cases of 5 non-mainstream cinemas in Taichung Region, including the 8 & 1/2 Classic Theater, Wonderful Cinemas, Shalu Movie Center, Taiwan Images on the blog, and the Media Art Center of National Taiwan Museum of Fine Arts, by means of field study and in-depth interview with the their operators to understand their respective background, operation models and objectives, as well as feedback from their audiences. Furthermore, efforts have been put into interviews with an aim to understanding the ideas behind setting up the ＂Film Festival of Citizens' Cinema＂ and future promotion policy of film culture.　　　The author has come to the following conclusions: 1. There is a shift of trend from private initiatives to those of government sponsorship owing to the fact of easy access to Internet, download availability and the small size of audience which combinedly made the screening of non-mainstream films no longer profitable. 2. The establishment of a non-mainstream cinema is a symbol of consolidation of cultural civil rights and an elevation of citizens' self-dependency. 3. Film Festivals and panel discussions are crucial to the promotion of non-mainstream cinemas. 4. Shortage of funding and difficulties in attracting new audience are the common predicaments faced by non-mainstream cinemas. 5. A non-mainstream cinema plays an essential role of cultural field for accumulation and exchange of cultural capital. 6. The more an audience gets involved in non-mainstream cinemas, the more they possess cultural capital, cognition and ideas about films, the stronger they feel obliged to follow user-pays rule. 7. The establishment of public showing sites for nonmainstream films would diminish the living space of private showing sites.
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