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| January 2017 |
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39 |
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| 研究論文Research Articles |
| 大製作模式對自由電視工作者的影響：以台灣電視工作者在中國大陸為例 |
| The Impacts of Big Production on TV Freelancers: A Study on Taiwanese TV Freelancers in China |
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(3640)
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| 作者 |
張舒斐 |
| Author |
Shu-Fei CHANG |
| 關鍵詞 |
大資本、節目冠名贊助、自由電視工作者、政治經濟學、文化勞動的國際分工 |
| Keywords |
big capital, title sponsorship, TV freelancer, political economy, the international division of cultural labor |
| 摘要 |
台灣有經驗的電視工作者自1990年代起受到大陸的豐沛製作資源的吸引，以及大陸電視節目製作力求轉型進步，在電視台邀請下紛紛移居大陸，參與電視節目製作。然而，2005年起，隨著冠名贊助為中國大陸電視製作場域投入大量資金，加上電視台捨棄原創企劃案，轉向國外購買節目版權，引進國外製作人才進駐輔導，大資金大製作的運營模式已然成型。大型民營製作公司又受到重用，小型製作公司的生存空間受到壓縮，開始走向邊緣化。
本研究主要的目的是從政治經濟學以及文化勞動的國際分工的角度，探討在大資本大製作之下，中國大陸電視製作場域產生何種變化，而這種變化對於自由接案的台灣電視工作者又產生何種影響。
本研究於2013年10月至2015年1月，於台北、上海、北京共訪談了包含自由電視工作者、電視節目製作機構主管，以及相關的後製工作者共計13位受訪者。
本研究發現，由於巨量資金投入，為在節目的細節上追求完美，產製流程被一一拆解，並交由眾多的製作小組進行再拆解與再錄製，這種電視製作流程碎裂化的現象，從正面來看，提供了自由電視人及小型製作公司更多的工作機會。但資金集中的現象，讓文化創作者失去了與商業對抗的能力，最後只成為電視節目生產線上的一個環節。長期在大陸耕耘的台灣自由電視人，從以往可以參與節目規劃與討論的顧問角色，轉變為大型節目製作鏈中，無數碎裂小單元的單元拍攝者或執行者，對於節目最後的全貌為何已無權再探知。
本研究同時也發現，大資金投入影視製作的風潮也向視頻網站流動，建議未來的研究可關注新媒體影視製作下，傳統專家典範與政治經濟學的適用性研究；以及中國大陸視頻影視製作「大」現象研究。
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| Abstract |
Taiwanese TV workers started moving to China in the late 1990s due to its plentiful production resources and because Chinese TV stations sent out invitations to experienced Taiwanese TV workers to improve their TV production ability. However, since 2005, the title sponsorship for TV programs and TV stations purchasing TV program formats from overseas have changed the entire Chinese TV production environment and marginalized small-scale TV production companies. The operational model of big capital and big production has now become the mainstream in the Chinese TV production field.
This study aims to investigate the effects of big capital investments on the Chinese TV industry from the political economy perspective. In this sense, the aim of this study is to inquire about the changes that occurred in the Chinese TV field and examine how they will affect Taiwanese TV freelancers.
For this research, 13 professionals, including Taiwanese TV freelancers, managers of TV production houses, and post-production workers, were interviewed between October 2013 and January 2015.
The findings presented in this article show that, first, professional TV workers have gradually lost their ability to cope with commercial power under the conditions of capital concentration. Purchasing TV program formats from overseas has become mainstream practice for ensuring the success of TV programs in China. The role of the Taiwanese TV freelancer has changed from being an adviser or a consultant for a TV program to working as a camera operator or an executor of a big production chain. Freelancers have no right to be involved in how the final program is presented.
Second, the findings indicate that big capital production is also investing in online content production. This research suggests that future studies should focus on (1) the applicability of the traditional paradigm and political economy on new media production, and (2) big phenomena in the Chinese new media production.
本文引用格式﹕
張舒斐（2017）。〈大製作模式對自由電視工作者的影響：以台灣電視工作者在中國大陸為例〉。《傳播與社會學刊》，第39 期，頁61–92。
Citation of this article:
Chang, S.-F. (2017). The impacts of big production on TV freelancers: A study on Taiwanese TV freelancers in China. Communication & Society, 39, 61–92.
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