| 摘要: | 布袋戲在十九世紀中期隨著泉漳一帶的戲曲傳入臺灣後，漸漸發展出屬於這片土地風格的在地傳統戲劇。歷經時代變遷的考驗而不斷蛻變，現在的布袋戲是既文化技藝、也可以是影視娛樂。 金光布袋戲是由黃俊雄、黃立綱、黃鳳儀在2002年創立天地多媒體國際有限公司製作，而後逐漸交由黃立綱接手。2006年黃立綱正式成為負責人，黃俊雄退居幕後指導，戲迷們一般會將黃俊雄所執導的劇集稱為「舊金光系列」，而從2009年黃立綱接手主導的《黑白龍狼傳》開始，稱為「新金光系列」。新金光系列至目前已推出十四部劇集，第一部《黑白龍狼傳》劇情上部分承接自黃俊雄《鷹燕龍虎榜》，採DVD出租模式。2012年《天地風雲錄──決戰時刻》則開始與7-ELEVEN合作以隔周發片模式銷售。2012年底結束和7-ELEVEN的合作關係，配合《天地風雲錄──九龍變》的推出，開始與全家長達九年的合作關係。 本研究透過質性研究方法中的訪談法、文獻分析和次級資料分析法，廣泛蒐集相關資料來探討金光布袋戲的發展脈絡，並嘗試從銷售通路及消費者（資深戲迷）的兩方面分析該商品在這些年的改變。並希望能從市場反應中窺見其具備的優勢與劣勢。 金光布袋戲憑藉著其充滿速度和力道感的精采武戲、細膩的文戲、精妙的拍攝手法、善於營造劇情張力、角色形塑飽滿有魅力等特色，抓住了戲迷的心。不論是從從戲迷的觀點或是總銷售量來看，《決戰時刻》到《墨邪錄》可說是最美好的黃金時期。台灣的布袋戲市場普遍面臨的問題是，老戲迷會淍零而新戲迷難以為繼，在銷售量每況愈下的情況下，是否應該導入真正的企業經營理念來轉型，是值得經營者思考的部分。
After being brought to Taiwan in the mid-19th century with other theatrical plays originated in Quanzhou and Zhangzhou in Mainland China, glove puppetry in Taiwan has gradually developed a style that is endemic to the land. Having withstood the test of time, the ever-evolving glove puppetry is not just a cultural heritage, but also a form of entertainment that is still found on television and in movies. Jinguang Glove Puppetry Show is produced by Heaven and Earth Multimedia International Ltd., which was founded by Huang Chun-Hsiung, Huang Li-Gang, and Jenny Huang in 2002. After founding the company, Huang Chun-Hsiung gradually relinquished his control to Huang Li-Gang, who officially took over in 2006. Fans of the show generally refer to the episodes directed by Huang Chun-Hsiung as the Old Jinguang Series and the subseries starting from “Hutch Legend”, which Huang Li-Gang took over in 2009, the New Jinguang Series. Up to the time of writing, the New Jinguang Series has spanned 14 subseries. The first of the subseries, “Hutch Legend”, which is a spinoff of “Eagle and Swallow” directed by Huang Chun-Hsiung, is available in rental DVDs. In 2012, the subseries “Heaven and Earth: The Final Battle” was released biweekly in collaboration with 7-ELEVEN, which lasted till the end of the year. Thereafter, with the release of “Heaven and Earth: Nine Dragons”, Jinguang Glove Puppetry Show entered a collaboration with FamilyMart that has lasted for nine years. This study employed qualitative research methods, including the interview method, literature review, and secondary data analysis, to investigate the development of Jinguang Glove Puppetry Show and explore the changes in the franchise over time from the perspectives of marketing channels and consumers (longtime fans of the show), thereby identifying the strengths and weaknesses of the show on the basis of market reaction. Judging by the tempo and thrill of its action scenes, the subtlety in its non-action scenes, and its skillful camerawork, Jinguang Glove Puppetry Show has a forte in story-telling and in the creation of charismatic characters. From either the perspective of its fans or that of sales figures, “Heaven and Earth: The Final Battle” and “Evil of the Mohists” represent the golden age of the show. In Taiwan, glove puppetry faces the challenge of a shrinking market, where the dwindling fan base can hardly sustain the industry. Should operators bring in adequate business management concepts in response to the worsening sales is a question that merits serious consideration. |
